Whats Love got to with it(1993) film analysis - Essay Example

?What’s Love got to with it? An Analysis As a young hopeful chipping at the remote edges of the music industry, a Pre-Tina Turner dreamed and sang ofstardom in the cozy confines of Nutbush, Tennessee, exasperating her church Choir mistress with her spicy flair during the performance of such timeless melodies as 'This little light of mine.' Anna Mae had always been gifted. But her prospects skyrocketed upon being discovered by Ike Turner, when living with her mother who had abandoned the family to live in St. Louis. Ike was already established as a performer himself, as well as producer/songwriter. (Maslin, 1993) So begins a compelling biographical biopic drama about the singing duo that has touched millions of lives worldwide. Ike appears to be the answer to Tina's prayers; an industry insider willing and able to foster her own rise to music stardom. Yet he hides (not for very long) personal demons that will drive him to heights, or depths of jealousy which will provoke in him abuses physical, emotional, and sexual. The film, and the unflinching glare that it shines upon the threats and consequences of domestic violence highlights an unexpected truth concerning Tina's rise. Ike aided her in more ways than the obvious; Anna Mae Bullock being the right person at the right time to take advantage of the opportunity he provided; and not simply in terms of physical access to industry resources. An analysis of the film reveals the perils and pitfalls to be overcome for those that seek to safeguard the vulnerable, (and not always women) from domestic violence. Apart from these systemic weaknesses in the law and prosecution thereof, this study shall also demonstrate that, despite the exhaustion, fear, and violence, there is a case to be made for the ways in which Tina needed Ike. Underscoring the complexities of managing the widespread threat of domestic abuse are Anna/Tina's long years of brutal, seemingly unprovoked beatings, the on-screen depictions of infidelity and various betrayals, and even a scene of apparent marital rape. Reminiscent of an indefatigable river-boat worker, (Keep on burning) the renamed Tina Turner suffers through the long slog of the showbiz hamster-wheel, driven to perform regardless of illness, bruises, or weariness. In order to escape the painful cycle, Tina could ultimately rely on no one but herself for the fortitude needed to break free. Ike's depicted abuses should certainly constitute illegal domestic violence, but many battered women are forced to rely primarily upon themselves; due to the difficulties in prosecuting such cases. In Ike's case, in time a sizeable body of evidence, and witnesses would accumulate that would easily corroborate his worst offenses; but in those heady, early years, for Tina and likely many wives; it would be easy to believe that this was a 'phase', and that he would change; that there would be no pattern of abuse to astound house-guests and scar the minds of their children. Adding to her reluctance to abandon him, loomed the specter of her own mother, who had abandoned the family when Anna Mae was young; adding a dogged determination not to duplicate that betrayal. The criminal justice system can be argued to exacerbate a disconnect between the severity of the crimes, and their response to it; largely due to difficulties of evidence, and certain beliefs held by the legal authorities. There is a tendency to 'water-down' violence based on the relationship between the parties involved. In some police districts, it was standard practice for domestic abusers to be diverted into the care of counselors, not just for the attacker himself (or rarely, herself) but counseling for victim and abuser alike. Which would hardly be the case should a woman be attacked at knifepoint by a masked stranger. (Busch, et al. 1993) Which begs the question of whether a unique set of circumstances are involved, or whether the violence is simply an unhealthy manifestation of the nuts and bolts of a volatile marriage? Many authorities assume so, and unless one was able to watch a filmed adaptation proving Ike's unwarranted savagery. The right and wrong of it are clear, such as in the swimming pool scene. Tina and several friends are at the Turner's home, lounging by the pool, when Tina politely asks Ike to take a break. Ike insists he can't; that he has records to finish, music to write, and that the couple is saddled with too much debt. Tina is surprised; as much as they work, that they should have any debts at all - "cause I know I'm not spending the money," she asserts. "What about all your wigs, and dresses?" Ike insists, his rage simmering. He argues that they wouldn't be having any money troubles if Tina would sing the songs the way he wants her to each time. Tina agrees, and says that she tries to. But that a lot of Ike's songs sound alike. "What's that? I didn't hear you." He asks, tilting an ear towards her, stepping closer. His question becomes a dare, daring her to give an honest criticism of his efforts. "It's just that you got your own style - " But this minor assertion, that much of his music sounds similar, is enough to provoke not only a slap, but a shove to the ground, where Ike proceeds with a flurry of savage punches. Viewing the action rather reminds the viewer of the over-the-top extravagant action carried out by a professional wrestler against his trained opponent. Some of the blows were limited in magnitude, but here Basset’s expression; the very real fear, and horrified outrage her posture conveyed heightened the tension such that – even being in the audience, the strikes felt real. In the film, she is dragged bodily to the bedroom, amidst her own screams, the shocked outrage of her guests sitting by the pool, and the surprised faces of the couple’s children as their mother is dragged past, literally kicking and screaming. The violence continues until Ike declares: "I guess you're gonna leave me now, go ahead then." In time, Ike.In time. Tina knows of Ike's crimes, but a clean break, especially with children, plus the perception exist that her career depends on him, complicates her choices. Escape is not so easy as it might seem at first. Ike's connections would indeed prove valuable until the time was right where Tina could finally eclipse his own fame. Thus, her husband - as portrayed in the film becomes an encompassing, jealous villain. And every hero needs a villain to overcome. To study Ike himself is to read a biography of a man who, at the very least, is able to acknowledge much of his own, quite serious flaws. From his own autobiography, there is a definite tendency to blame others for his own failings; and indeed his formative years as a black youth in the Deep South colored his thinking; but rather than rising above adversity, he took the opposite tack from many civil right leaders under similar circumstances, allowing the challenge of his environs to consume him. Ultimately, it is difficult to say whether his early years nursing a crippled father beaten by a white mob, or his numerous sexual encounters before the age of twelve irretrievably scarred him; but he does exhibit a tendency to blame faults within himself on others. Though, Laurence Fishburne, in later interviews regarding his character, insists that the scene be included that portrays Ike's father being brutally beaten, resulting in 'holes kicked in his stomach.' This, according to Fishburne, being integral to Ike becoming the man that he was. (Findarticles.com 1993) His grievances against Tina reflect less on specific actions she took that were clearly hostile; but rather in decisions she made that harmed his career. Tina can't be said to have committed any true offenses worthy of any public outrage; his anger stemming from her growing popularity above his own. In addition, he felt aggrieved by her later decision to not agree to a farewell tour with him; in which he would have much more to gain than she would; having become something of a social pariah throughout the 1990's. It seems as though he truly did not understand why she wouldn't agree to help his limping prospects just this one last time. Ike seems unwillingly to deny much of the abuse that occurred, or feels unable to do so with credulity; due to numerous witnesses to the violence, abuse, and adultery that could easily torpedo a blanket denial. He had no apparent serious issues with Tina's own biography 'I Tina'. He does have 'concerns' however, with 'What's Love got to do with it." Yet his prospects for challenging the portrayal are limited; he evidently did sign a release that relinquished his right to take legal action against the portrayal. He would have sued except that, according to his claims, he was tricked into signing the release for the film while high on drugs. (Turner, 1999) In the film, Ike becomes quite monstrous; even his own attempt to rectify his reputation via autobiography seems to do little but confirm Tina's version of his blood-tinged misogyny. It seems unlikely that there will be any film adaptations of his own story. Laurence Fishburne is dangerously convincing in Ike's role; the misguided passion of the man communicated with haunting believability in voice, glare, and fists. His passion carries the role admirably. Perhaps a single point of criticism would be during the swimming pool scene, as he drags Angela Basset behind the couch for the intermediate portion of her bludgeoning, there were a few punches that seemed slightly lackluster. That particular sequence would have become that much more believable with more force, effort put into his exertions. Since the actress herself was hidden from direct view, Fishburne could have been truly forceful striking a pillow, or some other artifact. Here then, is an example of the challenges directors face; having to portray convincingly that level of brutality; but without utterly revolting the viewing audience. Nonetheless, while the actress was hidden, there was a shot which could be construed as a missed opportunity. Here largely, it was the punch-like impact sound-effects intended to carry the scene, but I think greater exertion by Fishburne against the hidden target behind the couch would have painted a more compelling picture. Still, it is fortunate that Fishburne was acquired for the part. He was tapped five times for the role, yet continuously declined, until hearing that Angela Basset had agreed to play Tina. But throughout the film, as the beatings escalate, Tina's determination, and inner strength begin to shine through. Such as during the limo-ride scene. When Ike wrestles her into the seat of the vehicle, after which Tina declares: "Don't start with me, Ike. I'm not in the mood." He throws her words back at her, commencing with the expected slaps, followed by him taking his shoe to her. But this scene is the beginning of when she finally finds the courage to strike back. Goading him with - "Is that the best you can do?" Before she tackles him with blows of her own. Here is where the director must make a delicate decision; we must be given enough punches and shoe-slaps to adequately communicate Ike’s savagery; but one must know the right time to pull away and show the limo in traffic. To that end, much of the presumed violence was edited at the risk of becoming excessive. But since the couple is on their way to a hotel prior to a performance, they are then forced to behave themselves as they check in at the lobby. Perhaps, on a purely gratuitous level, it might have been viscerally satisfying to see more of Basset/Tina’s retaliatory blows. But that scene was integral to her burgeoning courage and phoenix-like rise into her own performer, as her own person; which she demonstrates in the 'You can go straight to Hell, Ike.' scene, on an airplane, where Ike wants to use Tina's shoulder as a headrest as they are sitting together on the flight. Ike is surprised at Tina's reluctance towards his seemingly innocuous request, and when he insists, she leaves the seat and tells him where he can go. What the film, and Tina’s actual life lead to is her ‘coming of age’ into her own person, yes. But in a strangely perverse way, Ike aided her even as his own insecurities attempted to change the reality of who truly made the duo popular. Would Tina have garnered the same amount of sympathy without the beatings, the bloodied lip as she checked into the hotel? The friends that saw Ike dragging her down the hallway to be punished for her husband’s own insecurities? This cauldron of misplaced rage and fisticuffs brought out within her a courage that she may not have known she possessed; to say nothing of the sympathy factor. With both her biography and this film in the hands and minds of Hollywood and the music-consuming public, not only did Ike become a social-untouchable, but Tina tapped into that David-vs.-Goliath admiration that beats in all of our hearts, the love of the Underdog; and that shared sense of victory should said Underdog triumph; as Tina’s career did, entirely apart from Mr. Turner. Each blow from enraged fists that perhaps, were truly lashing out at the whites that maimed his father when he was a boy, Ike only steeled his wife’s determination until the point where she could fly on her own as his wife no longer. There is an old African proverb that compares power and ruler ship to a single chicken egg. Such an egg must be held with a firm, secure grip. One must not allow the egg to tumble from your grasp and fall to the ground. Yet, one must also not squeeze too tightly; for too much force, exerted the wrong way will cause both the egg, and the power that one craves, to shatter in your very grasp. A lesson Ike Turner’s ego was unwilling to appreciate. In this manner, Tina needed Ike – not simply as a music industry patron, but Ike served as the foil, the challenger with a misguided role to play to allow the hero to come into his/her own destiny. ‘What’s Love Got to do with it’ is a biographical drama showing Tina Turner’s rise to stardom, and also showing that Tina took successful advantage both of Ike’s patronage, and of his personality flaws to ensure her success. In the end, no one can truly deny that while Anna Mae Bullock did indeed possess natural talent, that it was this relationship that set the stage for the woman she would become. REFERENCES Busch, Ruth. Robertson, Neville 1993 "WHAT'S LOVE GOT TO DO WITH IT?": AN ANALYSIS OF AN INTERVENTION APPROACH TO DOMESTIC VIOLENCE. Te Piringa - Faculty of Law > Research > Waikato Law Review > Volume 1, 1993 > What's Love Got To Do With It? "An Analysis of an Intervention Approach to Domestic Violence. The University of Waikato Findarticles.com 1993 Angela Bassett and Laurence Fishburne: 'What's Love Got To Do With It' movie tells true life story of Tina Turner - Cover Story. FindArticles / Reference / Jet / June 21, 1993. Articles in June 21, 1993 issue of Jet. Jet. FindArticles.com. 15 Jul, 2011. http://findarticles.com/p/articles/mi_m1355/is_n8_v84/ai_13926606/ Maslin, Janet. 1993 What's Love Got to Do With It (1993)June 9, 1993 Review/Film: What's Love Got to Do With It; Tina Turner's Tale: Living Life With Ike and Then Without Him. The New York Times Turner, Ike. Cawthorne, Nigel. Richard, Little.1999 Takin' Back My Name.The Confessions of Ike Turner.Virgin Books. ISBN: 1-85227-850-1 Read More