Juice

Starring: Samuel L. Jackson

Directed by: Ernest R. Dickerson

RS: Not Rated

1992 Drama

For cinematographers, the switch to directing is tough sledding. It's tougher still when your camera work is associated with a celebrated director. Gordon Willis's Windows and Michael Chapman's, All the Right Moves were shaky directorial debuts that pale in comparison with their cinematography for, respectively, Francis Coppola's Godfather trilogy and Martin Scorsese's Taxi Driver and Raging Bull.

Now the camera wiz Ernest Dickerson, who has shot all of Spike Lee's films, among others, tries directing with Juice, the story of four Harlem homeboys who risk their friendship and their lives to win juice (respect) in the 'hood. Dickerson, who co-wrote the script with Gerard Brown, makes an impressive directing debut. But two questions persist: Is his direction as distinctive as his cinematography? And is he on a par with Spike Lee?

The answer to both questions is no -- with no dis intended. Dickerson's technique is simply different. Doing his own photography for Juice, Dickerson exchanges the highly stylized look he gives Lee's films for something darker and grittier. And his approach is less sanitized and more street. Violence is as much a part of daily life as sex, drugs and rap. Racial solidarity -- a sticking point for Lee -- is a shakier concept for Dickerson, who stages a foray into crime that turns brother against brother. Still, Dickerson hasn't yet developed a unique personal style, which Lee had from the get-go.

He does, however, draw bracing performances from a cast of newcomers: Omar Epps as Quincy, who risks his DJ career for a quick heist; Cindy Herron (of En Vogue) as Yolanda, who loves Quincy but won't condone his flaws; and especially 2 Pac (of Digital Underground) as Bishop, who finds the feel of a handgun dangerously alluring. Dickerson sometimes gets didactic, but he never makes the mistake (common with cinematographers) of letting style interfere with substance. Juice is an exciting, disturbing movie that pulses with feeling. It shows that Dickerson has more than skill as a director; he has potential.

PETER TRAVERS
RS 623