Film Review: LOSING GROUND (1982) DIR. KATHLEEN COLLINS
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Written by Belle McIntyre
The richness, intelligence and timelessness of this gorgeous gem 4K restoration timed with its in inclusion in the 40th anniversary of the Yale Film Archives, is an event to be applauded and not to be missed. It is valuable and special on a few levels. It was one of the first feature films directed by a Black female with an almost entirely black cast. More significantly it embodies the vision of Toni Morrison’s writing in the elimination of the white gaze. That combined with the feminist slant could account for it’s lack of exposure.
The alluring and intellectual Professor Sara (Seret Scott) teaches logic and philosophy to college students who seem totally in her thrall. Her course is popular and challenging and her students very engaged. Sara is married to Victor (Bill Gunn), a prolific emerging abstract painter. These two embody opposing Platonic ideals. Sara is all Appolonian – rational, calm and reflective. Victor is purely Dionysian – emotional and enthusiastically responsive to all manner of external stimulation. They make an unlikely, but seemingly compatible marriage of extremes. When the film opens Victor has just had his first painting acquired by a museum.
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Victor has decided to rent a house upstate for the summer to celebrate and inspire his work. Sara has reservations as she is working on a paper and will need access to a library. And this is not her idea of a good time. However they find a wonderful Victorian house with beautiful gardens. Victor is entranced with the local populace of Latinas with whom he brazenly flirts and sketches. As Sara becomes increasingly frustrated by her limited resources and returns to the city periodically to further her research on, ironically, the ecstatic moment.
While she is in the city one of her students asks her to be in a film he is making loosely based on Frankie and Johnnie. Sara is to play a femme fatale who is her polar opposite. She takes it on with great enthusiasm, relishing the opportunity to get out of her own skin. And Victor is happily putting aside abstraction for landscape and portraits of the local beauties. Clearly there is trouble ahead. The denoument is wonderfully played out.
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The film has beautiful production values and all of the characters are attractive and convincingly portrayed. The dialogue is believable, intelligent and funny. Superb cinematography and a great soundtrack combine to make a really worthwhile experience. I would encourage seeing it while you can before it goes into archive limbo. It is a classic.
