The Six Triple Eight (2024)
In Tyler Perry's emotionally charged war film "The Six Triple Eight," the subtle moments resonate with a powerful intensity. This film, based on a true story, is Perry's second historical narrative following "A Jazzman’s Blues," and it highlights the experiences of the all-Black 6888th Central Postal Directory Battalion, who confronted severe racism while serving in World War II. Although the Women’s Army Corps (WACs) has had some representation in cinema, such as in Edward Buzzell’s "Keep Your Powder Dry," the contributions of Black servicewomen have largely been overlooked. This film presents a significant opportunity to share their story, making the flaws in Perry’s portrayal particularly hard to accept.
Perry's storytelling often feels disjointed. The film begins in December 1943 in San Pietro, Italy, with a dramatic scene where a white soldier navigates through trenches and charges into a devastated landscape, narrowly escaping the crash of a downed fighter jet. He rescues the pilot from the wreckage and takes a blood-stained letter that will remain undelivered in an army warehouse for years. From this battlefield, the narrative shifts back to 1942 in Bloomfield, Pennsylvania, where Lena Derriecott King (Ebony Obsidian) bids farewell to her white Jewish boyfriend, Abram David (Gregg Sulkin). His unexpected death during the war propels us to 1944 at Fort Oglethorpe, Georgia, where a newly enlisted King comes under the leadership of Major Charity Adams (Kerry Washington). These rapid shifts in time and place during the film's awkward opening act create a sense of narrative disorientation.
An analogous imbalance is evident in Perry's struggle to seamlessly intertwine the narratives of King and Adams. King is positioned as the emotional core of the film, grappling with her profound grief for David, which makes it difficult for her to engage with the charming serviceman Hugh Bell (Jay Reeves), who is on the verge of marriage and somewhat complicated. She is haunted by David’s ghost at every turn. The petite King initially seems ill-suited for military life, and her challenges in managing both the physical and emotional demands lead to tension with the exacting Adams. Adams embodies the activist spirit of the battalion, enduring the racial slurs hurled by her white superiors, including the unpleasant General Halt (Dean Norris), who doubts the capabilities of Black women. The combination of these strong-willed characters should create a powerful dynamic. However, Perry's focus on crafting melodramatic speeches detracts from making either character feel fully realized, resulting in portrayals that lack nuance, reminiscent of an ‘Uncle Sam’ poster.
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| The Six Triple Eight (2024) |
Dialogue is frequently a concern for Perry, though it’s not always glaringly problematic. His knack for having characters vocalize their deepest thoughts is part of his charm; the individuals in his films often express the unspoken in both humorous and poignant ways. Unfortunately, in “The Six Triple Eight,” this approach doesn’t resonate as effectively. Adams should exude strength and confidence as she commands her soldiers, yet Perry provides her with too few subtle moments that reveal her character, leaving much of Washington’s dedicated performance feeling overly broad. The same issue arises in the romantic exchanges between King and David, which come off as more wooden and awkward than affectionate. It seems as if Perry has crafted their relationship with the clichés of the Victorian era in mind, rather than capturing the essence of teenagers in the 1940s.
The film's over-the-top visual effects are just as poorly executed. Take the opening battle scene, for example; it’s rendered so flatly that you can almost see the strings lifting the actors away from the cotton candy-like smoke and the artificial flames that lack any real substance, resembling cheap tin foil. The meticulously designed sets feel more like movie sets than authentic environments. Every aspect of this film is marred by pretentiousness, with exaggerated accents and heavy makeup everywhere.
As the story moves overseas, Perry seems to lose control of the film's pacing. Following a visit from a grieving mother (Kerry O’Malley) looking for letters from her loved ones, Eleanor Roosevelt (played passionately by Susan Sarandon) informs FDR (Sam Waterston) that action is necessary to address the backlog of undelivered mail, as it could affect the morale of both soldiers and the American public. On the advice of Mary McLeod Bethune (Oprah Winfrey), the 6888th is sent to France to tackle the issue. There, they continuously confront dehumanizing racism, facing a scheming pastor, a disrespectful General Halt, and an indifferent bureaucracy that won’t even honor their fallen comrades with a proper burial. These moments are where the film features its most significant speeches, often delivered in such rapid succession that it’s hard to determine when the applause should start or stop.
This film shines brightest when Perry highlights the bond of sisterhood among the women. While most of King’s friends come across as somewhat one-dimensional, Johnnie Mae (Shanice Shantay) stands out as a straightforward character, embodying the typical comedic portrayal of a vivacious Black woman often seen in Perry’s works. However, it’s in the quieter scenes—like when the women dance together or support each other emotionally, particularly in the face of misogynoir—that the film resonates most with “Keep Your Powder Dry.” This sense of unity drives “The Six Triple Eight” to its emotionally powerful finale.
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| The Six Triple Eight (2024) |
What is particularly disappointing about Perry’s interpretation of this battalion’s narrative is the deep emotional weight their story carries. Despite his questionable creative decisions, the indomitable spirit of these Black women is undeniably moving. Perry certainly does a commendable job of bringing their history to light, yet one can’t help but wish he had entrusted a Black woman with the task of sharing this profoundly impactful story.
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