Madea Goes to Jail

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Tyler Perry’s movies have never disappointed me. And I’m not saying that simply because I’m African-American. Perry has a unique way of melding comedy and drama coupled with an underlining spiritual perspective that appeals to nearly everyone. Especially when his iconic matriarch of mayhem, Madea is thrown into the mix. With her, I know beyond a doubt that there will never be a dull moment.

In “her” first appearance since 2006’s Madea’s Family Reunion, Madea finally gets sent to the big house in Madea Goes to Jail. The hilarious opening sequence shows she’s no stranger to causing trouble for the police and others who are unfortunate enough to make her mad, then press charges.

Wasting no time as usual with his multi-character/storyline, Perry introduces us to an array of colorful personalities who are just as funny as they are serious. Joshua (Derek Luke), his fiance’ Linda (Ion Overman) and Chuck(Ron Reaco Lee) are up and coming district attorneys learning the ropes through various cases ,one of which is Madea’s. Viola Davis (Doubt) sparkles as a no nonsense minister trying to get girls off the streets. Sofia Vegara is quite convincing as Donna, one of the ragtag streetwalkers. And most notably, Keshia Knight Pulliam, little Rudy from The Cosby Show, as Candy, a red head wigged prostitute like her friend Donna.

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Thankfully, I20had not realized who was playing Candy until after seeing the movie. I may have been a bit more subjective, thinking stuff like “ Cute little Rudy from The Cosby Show playing a prostitute?” “No way.” Keshia handles the role beautifully as a cynical woman seemingly with a chip on her shoulder who also has a relationship to Joshua. And much to Donna’s chagrin, Joshua begins a campaign to help her when he first sees her as a defendant in the courtroom.

When one guest judge finally sends our feisty heroine to the slammer, she inevitably meets up with some oddball inmates. Of course Madea asserts from the get go that she’s not afraid of any of them which serves up some of the most hilarious scenes in the pic. She even manages to become a mentor in ways that will surprise you. I’ve never seen any of Perry’s original plays he adapts to the big screen. His skills in both mediums are always apparent, targeting African-American audiences with identifiable characters- and getting them to actually talk to the screen.

The late Gordon Parks, direct or of Shaft, said in an article that when people talk to the characters onscreen, he knows his film is working. And anyone who has seen a Tyler Perry movie, especially in a packed theater, knows the same theory applies. Could it be that Parks was right? No audience I’ve sat with watching a Tyler Perry movie was ever totally silent.

Sporting another ensemble cast whose performances draw you into their trials and triumphs (in other words, people you actually care about or despise), Perry has , once again produced, written and directed a human story about folks dealing with fears, forgiveness and most importantly, redemption.

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