The Other Side of the California Dream

1001 Movies To Watch Before Your Netflix Subscription Dies, Part 52
Carl Franklin (writer/director), Devil in a Blue Dress

Ezekiel “Easy” Rawlins only wanted to earn an honest dollar and pay his mounting Los Angeles mortgage bills. Not many Black men own their own houses in his city and time, after all. So when a hulking White man in a flashy suit offers Easy straight cash to find a missing White girl who enjoys visiting Black jazz clubs, it feels like a welcome payday. That us, until leads Easy questions start turning up dead.

We generally don’t associate the Left Coast with the pervasive “color line” that divided many Twentieth Century American cities. But in the years surrounding World War II, California had every bit the segregated culture and bigoted tendencies. Black Americans from Texas and Louisiana came to La-La Land for the same reasons they settled in Chicago and New York, because the big cities offered work. But as elsewhere, what one hand offered, the other took away.

Easy finds himself managing the tension between two communities while seeking his target, Daphne Monet. White people need information from the Black community, and having aggressively built segregated institutions, they cannot cross the borders they’ve created. Black people need White money, and also White tolerance, both of which they can purchase if they’re willing to sell their integrity. But once the two start mingling, the implicit violence that keeps the communities divided starts becoming explicit.

This slow, thoughtful neo-noir already appeared like an artifact from another era when it appeared in 1995. Director Carl Franklin overexposed several key shots to create California’s sun-streaked postwar fatigue. In Franklin’s distinctively dated cinematography, Easy is proud of owning his single-family home with lawn and picket fence, but that house looks slightly singed, with dust permeating every crevice. L.A. is a city of promise, but to Franklin, that promise has already started wearing thin.

As crimes start accumulating, people on both sides of the color barrier consider Easy a trustworthy source. Though hired to find Daphne Monet, she quickly finds him, begging his help negotiating her return to her fiancé. But that fiancé, in whose name Easy has been seeking Daphne, appears never to have heard of Easy. Who, then, sent flashy DeWitt Albright into central L.A. to find Daphne? And how does this affect the L.A. mayoral race?

Franklin’s storytelling deliberately channels previous Southern California noir thrillers, like Double Idemnity and Chinatown. Unlike the French movies that originated the smog-shrouded noir genre, L.A. noir is notable for its unrelenting sunlight, making warmth and visibility feel as oppressive as European mist. This movie appeared around the same time as other neo-noirs, like L.A. Confidential and Mulholland Drive. But its specifically Black sensibilities set it apart, emphasizing those neglected by California’s booming postwar bonanza economy.

Jennifer Beals and Denzel Washington in Carl Franklin's Devil in a Blue Dress

Cinematography emphasizes this movie’s oppressive ethos. Franklin shoots many scenes from a low angle that places the horizon above the midpoint, placing the viewer below the characters’ eye level, making us feel low to the ground. Although Franklin has few scenes of out-and-out violence, those he does have distinctly lack glamour and grace. Fighting, for him, is a clumsy enterprise; none of that “gun fu” that would start infecting Hollywood soon after, with The Matrix.

Against this visual austerity, Franklin contrasts a lush Elmer Bernstein score. The sound reflects a changing attitude in jazz: though the musician favor traditional instruments and rhythms, their compositions are altered by electronic amplification and a harder, more aggressive backbeat. Bernstein judiciously mingles his own compositions with period icons like Duke Ellington and Thelonious Monk, and in the noir style, he leaves several key scenes silent, letting character, dialog, and action convey the thoughtful story.

Like the Walter Mosley novel upon which it’s based, this movie was an experiment, to determine whether the market would support a franchise. The novel launched the Easy Rawlins franchise, and helped elevate Mosley to the first tier of commercial success. Despite a star cast and critical praise, the movie failed to recreate that success, barely breaking even at the box office. Denzel Washington’s performance was iconic, but only to those few who saw it.

Too bad audiences missed it, though. It provides a view into the institutions that enforced the color barrier during a time that California tried to romanticize itself, selling the “California dream” to anyone who could afford it. Easy shows us the unromantic side, the side that didn’t profit from postwar excess. He shows a man, dragged into the institutions of power, who grows into his role, becoming the defender his people never knew they needed.