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Kerry
Washington as "Niecy," the shoplifting department
store clerk.
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'Lift:' Boosting Your Life Away
by Esther Iverem
SeeingBlack.com Editor and Film Critic
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In chronicling the world of a professional shoplifter or booster,
the film Lift concerns itself with the frivolity of fashion
accoutrements. It is a decent attempt at revealing an important
aspect of the culture of poverty: the importance of being "so fresh
and so cle-clean" with the latest gear, expensive jewelry and fancy
cars—but having no real wealth as in real estate, or a savings account.
Even an honest vocation leading to personal satisfaction rather
than jail is an asset in short supply in this world.
You know the sentiment. The same sentiment that allowed us to identify
with the suit-wearing felon played by Eddie Murphy in 48 Hours.
When Nick Nolte calls him a worthless con, Murphy seems to agree
with the assessment and responds, "Yeah. But I LOOK GOOD." Consider
the scene exhibit one in defining ghetto fabulous. "Lift" does not
provide a deep look at our often twisted consumer consciousness.
Most of it is concerned with the surface of the matter. Niecy, a
cherub-faced young woman (Kerry Washington), works in a department
store and moonlights as a very sophisticated thief. Though it is
not clear, it appears that her con jobs include the use of fake
credit cards and bogus checks. Sometimes she simply steals the old-fashioned
way—by lifting goods and stashing them in a bag or under her shirt.
The thieving scenes are shot with much artistic effect. As she
strides through store aisles, drawing the eyes of White salespeople
and security guards to her dark skin, Niecy acts more like a model
on a runway than a thief. The filmmakers return to the theme of
the fashion runway again and again for comedic effect. Niecy knows
the necessary veneer. She knows how to exude the confidence of a
NBA wife, someone who BELONGS in a store with tremendous mark-ups
on designer goods. As she glides though the stores, giving all the
eye-candy an appreciative once-over, the sound of an operatic soprano
drenches the scenes in mocking irony.
The directing-writing team of DeMane Davis and Khari Streeter do
make an attempt to go beneath the surface here. As the story is
set up, it is possible to accept some connection between Niecy’s
crimes and her sense of obligation to her abused and deprived mother.
It is far more difficult to accept familial bonds as a total excuse—especially
without more information about the shared history between mother
and daughter. To really understand what drives Niecy and to really
feel her character, I wanted to hear her talk about her values,
how her desires cannot be fulfilled on a store clerk salary. I need
the issue to begin and end with Niecy, not with her mother.
In part because of these omissions, it is also difficult to know
who Niecy is or to truly accept the superficial romantic relationship
she has with a recovered booster, Angelo, who keeps encouraging
her to give up her life of crime. I really wanted to root for Niecy.
And I did sometimes. I just wanted the filmmakers to give me more
of a reason to do so.
Screened at Acapulco Black Film Festival
2001.
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-- June 21, 2001
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2001-05 Seeing Black, Inc. All Rights Reserved.
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