It is summer in Harlem in 1957 when we get to understand the gorgeous spirits in the middle of” Sylvie’s Love.” Sylvie (Tessa Thompson) works in the register of her dad’s record shop but dreams of a job in tv. Robert (Nnamdi Asomugha) is a fighting saxophonist who places her, and also a help wanted sign, through the shop window. Their attraction is instant, but it is only one factor at play. Anyone who has ever seen a romantic play understands that life will keep on getting in the way of Sylvie and Robert’s love for its half a decade we all understand them.
Its narrative feels comfortable, but it is also one which we have not seen nearly enough of the fact of our protagonists’ skin color makes this homage revolutionary and striking.
While it does not have the sweeping artwork and psychological weight of” If Beale Street Could Talk,” Sylvie’s Love” has lots of charms. Thompson, for one, is fantastic as Sylvie, who’s not your typical romantic protagonist, particularly for the moment. Sylvie is naïve but also worldly, prim but also enthusiastic and the world around her is brilliant and exciting and full of chances, even though her daddy (Lance Reddick) believes her dream of working in television is far-fetched. And Thompson provides her a matinee elegance in rolled-up jeans.
However, Sylvie, we soon find, is participated. Her fiance, a gentleman by a wealthy family that she met in a cotillion, is off in Korea and she is just biding her time until he comes back again. The debut of Robert, consequently, is much more than a bit disruptive to those well-laid plans. However, they start to bond over shared and music and distinct passions, and until the weather turns they’re in a full-scale event. The summer of fresh romance comes to an abrupt stop though when her mum (Erica Gimpel) finds what is happening and Robert finds his group has a chance to visit Paris. Sylvie, for her reasons, doesn’t take his invitation to join.
Five decades later they meet again, outside a theatre where she has found herself with no date for the day and an additional ticket. Time and space have not diminished their relationship and the whole thing begins afresh. Now, however, Sylvie is married and has a young kid, and it’s more difficult to justify the indiscretion now around.
Ashe has a background as a musician that’s unsurprising. The audio may also have a third-party to Thompson and Asomugha.
The speed moves in a leisurely creep, which might have been the stage to just luxuriate with those characters and this planet, but it begins to feel somewhat like it’s turning its wheels once they divide the very first moment. Thompson and Asomugha have undeniable chemistry and therefore are greatest when in one another’s business on screen, however, there is a little too much going on about them (such as a full-size song and dance series with Eva Longoria, who’s on-screen for approximately five minutes complete as the spouse of his bandmate).
Asomugha, a former professional soccer player and husband to Kerry Washington, has a fantastic screen presence and may break with the ideal function. “Sylvie’s Love,” which he produced, is not that, but it’s a good performance in this undeniably enjoyable and soulful movie.