Brother John Review
Brother John is a fascinating example of the social-issue cinema that flourished in the early 1970s. This subtly engrossing drama posits the second coming of Christ as an Alabama-born black man named John Kane (Sidney Poitier)--a prodigal son, savior, and quiet peacemaker who can still kick ass when he needs to. Screenwriter Ernest Kinoy's clever strategy is to embrace near-total ambiguity, injecting just a hint of divinity into Kane's personal belongings. Director James Goldstone (a veteran, along with cinematographer Gerry Finnerman, of TV's original Star Trek) maintains a crucial balance of faith and uncertainty that inspires one of Poitier's most underrated performances; at times he really seems to be carrying the burdens of humankind in his weary, compassionate heart. Is he God, bidding farewell on the verge of doomsday? Only the doctor who birthed him (Will Geer, at his best) surmises the truth. A fine score by Quincy Jones with then-trendy harmonica soloist Toots Thielemans makes this a '70s gem to savor. --Jeff Shannon
