These two films shine not only for their modern and mature intentions but in the value of their words. Today marks the 28th anniversary of Love Jones, the timeless romantic drama that captured hearts when it debuted on March 14, 1997. Directed by Theodore Witcher, the film remains a cultural touchstone for its poetic portrayal of Black love, creativity, and vulnerability. Starring the magnetic duo of Larenz Tate as Darius Lovehall and Nia Long as Nina Mosley, Love Jones is more than a love story—it’s a vibe, a mood, and a reflection of what it means to open your heart to the possibility of love, even when it’s complicated. Written and directed by Theodore Witcher, Love Jones was set in the beautiful city of Chicago and followed the passionate – but at times tumultuous – relationship between the poetic Darius Lovehall and Nina Mosley, a talented photographer. The film would follow Darius and Nina as they fall in love and grow within themselves individually as well as together.
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Nick Wechsler, who was a producer on the film, puts Witcher in a league with Stephen Soderbergh and Gus Van Sant, two other onetime directing wunderkinds whose Sundance-winning films he also produced. When asked if the film’s young urban target audience might find the characters too upscale or intellectually pretentious, Witcher scoffs, “This film is my reality. I don’t live in a castle on top of a hill, so if it’s realistic to me, it has to seem realistic to some other people out there. Falling in love feels like walking a fine line between fear and euphoria—it’s thrilling, unpredictable, and deeply human.
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This was the man who should’ve been just as prolific as Tyler Perry (before Tyler Perry) if you will. Unfortunately, the young director departed just as fast as he arrived.
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- Showing refined tastes matching their characters, jazz becomes a larger artistic presence than the hip-hop of each era.
- When asked if the film’s young urban target audience might find the characters too upscale or intellectually pretentious, Witcher scoffs, “This film is my reality.
- Before taking the stage, he meets Nina Mosley, a talented photographer recently out of a relationship with her ex-fiancé, Marvin.
- I intended to have a long list of credits, but I couldn’t get another movie.
- His movie tied for the Audience Award at the latest Sundance Film Festival, and critics have praised the film as being smart, perceptive and hip.
Hollywood is a small eco-system and the survival and prosperity of new filmmakers is interdependent on the endorsements and support of the more established guards. Nia Long, who made her debut in “Boyz N the Hood” and is a native of South-Central Los Angeles, sees “lovejones” as being an important film without being an attack on grittier fare from John Singleton or the Hughes Brothers. Witcher knew he had to make films after seeing Steven Spielberg’s “Raiders of the Lost Ark” at age 11. The movie’s look came through a confluence of ideas by myself and my team, and the month we shot was the wettest Chicago had seen in years. Rain was written into the script, but then every other day was raining so, out of my control, the movie ended up looking like Seven. Based on the explosive success of Love Jones, it was easily assumed and expected that Witcher would continue to infuse Hollywood with authentic and beautiful Black narratives.
Passionate and thought-provoking, which made sense for a film about a relationship between a poet (Larenz Tate) and a photographer (Nia Long). For the 23rd anniversary of this Black Hollywood classic, we pulled together the 11 best quotes from the film. In Chicago, Darius Lovehall, an aspiring poet, performs at the Sanctuary, a popular nightclub featuring jazz and spoken word. Before taking the stage, he meets Nina Mosley, a talented photographer recently out of a relationship with her ex-fiancé, Marvin. During their first encounter, Darius accidentally spills his drink on Nina but recovers by dedicating his poem, “A Blues for Nina”, to her during his set. Witcher, theodore witcher who’s also a tenor saxophonist and jazz aficionado, perks up as much about the “love jones” soundtrack as he does when talking about the film.
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He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society. Love Jones (stylized as love jones) is a 1997 American romantic comedy-drama film written and directed by Theodore Witcher in his feature directorial debut. The film stars Larenz Tate and Nia Long, with supporting performances by Isaiah Washington, Bill Bellamy, and Lisa Nicole Carson. Set in Chicago, the narrative follows the evolving relationship between a poet and a photographer as they navigate love, ambition, and personal growth. Unlike the gritty black films opening the 1990s like 1991’s Boyz n the Hood and 1993’s Menace II Society, 1997’s Love Jones depicted an artistic niche of African-American life.
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Informed by mutual friend Josie, Darius rushes to Union Station to stop her but arrives too late. Their relationship develops amidst uncertainty, complicated by advice from friends navigating their own relationship challenges. Darius shows Nina his apartment—nicknamed “the Batcave”—and their connection deepens. However, tension arises when Marvin reappears, asking Nina to join him in New York. Hoping to test Darius’s feelings, Nina decides to go, but Darius conceals his disappointment. By early 1995 the script was done, Echegoyen was the executive producer (one of four listed in the credits), and New Line Cinema’s Michael DeLuca agreed to a $7-million budget, with Witcher directing.
- After an unsuccessful attempt to rekindle her relationship with Marvin, Nina returns to Chicago, hoping to reconnect with Darius.
- At the time, Larenz Tate was coming off of his volatile lead performance in Menace II Society and Nia Long was just a dreamy prize in Friday.
- Love Jones has its core of poetry and The Photograph has its mystery of visual arts.
- Darius is guarded and hesitant to reveal vulnerability, while Nina is still processing her breakup with Marvin.
Watching Love Jones occasionally, I marvel at its authenticity and wish that half of the films that come out each year could even muster half of that authenticity and flair. And obviously, when I see Tyler Perry’s films, it creates the opposite effect on me. Demascus also stars Janet Hubert (Love Life, Pose, The Last OG), Caleb Eberhardt (Judas & The Black Messiah, Betty) and Shakira Ja’nai Paye (All Day and a Night, House Party). Martin Lawrence will also serve as a recurring guest star in three of the series’ six episodes. Nina discovers Lisa’s phone number in Darius’s datebook, and anonymous calls heighten her suspicions. When Nina receives a job offer from Vibe magazine, she prepares to return to New York.
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Love Jones features the tried-and-true rhythms of John Coltrane, Duke Ellington, and Charlie Parker while The Photograph employs composer and recording artist Robert Glasper for melodic instrumental score that would make Miles Davis proud. However, we all know, no matter the demographic, love is never simple or easy. Thanks in part to their settings and creative drives, the two sets of career-minded individuals in both movies carry uncertainty about their futures that create challenges for any higher intimacy or potential long-term relationships. Normal movie mechanics and tendencies would contrive weak reasons to split our lovers apart and even worse forced measures to bring them back together for unrealistic happy endings. Both movies are too smart for those mistakes and urges, and it’s readily apparent in their final and top trait of shared quality. The Photograph and Love Jones operate with the language of those infinite possibilities.
Instead of having his characters struggle with “the man,” Witcher wanted them to wrestle with themselves and their careers, as humanistic beings trying to get over their personal shortcomings. In hindsight, the first-time director created a mold from which many black romantic dramas draw and presented an idea of love that still lingers, like America’s undying affection for Cliff and Clair Huxtable. Nearly 25 years ago, the producers of the independent gem Love Jones had a modest and honest goal with its romance. They sought to make a modern film about African-American life that did not use violence and/or recreational drugs as story elements. The trouble is even an astute film fan would likely have difficulty counting the digits on both of their hands with movies since Love Jones that carry the same integrity of avoiding these negative tropes. In this writer’s opinion, the best and brightest to finally do so just landed this winter in the form of The Photograph.
It’s time to give names to the characters sauntering through these two settings. She is a photography assistant with skill and determination deserving of her own recognition and opportunities. Nina is coming off of failed engagement when she is swept off her apprehensive feet by the aspiring writer Darius Lovehall, played by Larenz Tate. With a touch slower building heat, Lakeith Stanfeild’s magazine writer Michael Block in The Photograph becomes interested in museum curator Mae Morton, played by Issa Rae. Like Nina, Michael is reeling from romantic failure when he meets Mae, the daughter of his latest city profile subject, and sees irresistible intrigue. In Love Jones, deep friend circles are involved, led by trusted confidantes for both Nina and Darius played by Lisa Nicole Carson and Isaiah Washington.
