‘The Dutchman’ Review: André Holland and Kate Mara Star in an Uneven Update of the Provocative Play

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In his adaptation of “The Dutchman,” Andre Gaines updates Amiri Baraka’s play, which revolves around a deadly encounter between a reserved black man and an unscrupulous white woman, for today’s world. He amplifies the play’s surrealistic elements and moves the central couple’s narrative out of the confined space of a train car, thereby giving it more contemporary relevance but potentially diluting some of its raw intensity. In this version, characters Clay (André Holland) and Lula (Kate Mara) become more relatable and meaningful in today’s society, yet they may lack some of their original grit.

In 1964, the play “Dutchman” premiered at the Cherry Lane Theater, leaving audiences stunned with its harsh portrayal of the dynamic between white and African American societies. One critic described the Off-Broadway production, which eventually received an Obie award, as a “burst of hatred.” He pondered: “If such sentiments reflect the feelings of even one Black individual, there is sufficient reason for both guilt and apprehension, and the urgency for change becomes evident.

This brief stage production, lasting merely half an hour, premiered during a pivotal era for both America and Baraka. As a new generation discarded the integrationist ideals of their Civil Rights predecessors in favor of the Black Power Movement’s demand for self-governance, Baraka shifted his stance from being celebrated white literary figure to adopting racial pride fueled by righteous anger. Dutchman, a production that is raw and unapologetic in its criticisms and denouncements of Black individuals who deny the brutal reality of racial violence in America, mirrors this transformation. At the time of its staging, Baraka was going through a divorce from his first wife, the white Jewish poet Hettie Jones, and certain aspects of the play seem like a writer addressing an aspect of himself he is letting go. It’s symbolic, therefore, that Dutchman was one of the last pieces Baraka published using his birth name LeRoi Jones.

As a fan, I found Anthony Harvey’s 1967 film adaptation of Baraka’s racially charged parable, recently revived by the Museum of Modern Art, to be remarkably authentic. This adaptation, showcased at the Venice Film Festival, earned Shirley Knight the Best Actress award for her intense portrayal of Lula. Harvey’s version of Dutchman, in my opinion, brilliantly encapsulates Baraka’s complex anger and unyielding nihilism. In this adaptation, Clay, played by Al Freeman Jr., is depicted as a naive individual, easily swayed by Lula’s destructive allure, setting him on a path to ruin. However, in Gaines’ Dutchman, which premiered at SXSW, Clay is portrayed as more discerning. Instead of the young, baby-faced professional character in Baraka’s original play, Clay is now a seasoned ‘race man’, struggling to save his marriage and forge a promising future for Harlem.

In a heated therapy session, we encounter Clay, who’s engaged in a difficult conversation with his wife Kaya (played by Zazie Beetz) and their therapist Dr. Amiri (Stephen McKinley Henderson). The air is thick with the strain of their marital dispute. Kaya yearns for Clay to communicate more, to confide in her about his work and personal issues. However, Clay, still grappling with the pain of Kaya’s infidelity, resists this plea. He’s also battling a profound feeling of disconnection – a sense he’s described by W.E.B. DuBois as ‘double consciousness’, which makes him feel deeply unheard and even more resistant to open up.

After our session, Doc Amiri keeps me back to explore other ways I can unearth my buried feelings. With a steady gaze, this calm yet intense doc suggests I might want to consider straying from Kaya, then mentions a game called Dutchman.

Gaines, likely mindful of the significant weight and expectations surrounding Baraka’s play, and the challenges that come with adapting it, crafted The Dutchman as a self-referential storyline. The director, who collaborated with Qasim Basir (Destined) on the screenplay, combats Baraka’s crushing nihilism with an unexpected sincerity that seems slightly out of place.

A key aspect that gave the initial “Dutchman” its powerful impact was its harsh, destructive tone, which served as a means for Baraka to expose raw emotions. Gaines’ adaptation sets this story in an era of Black economic revitalization initiatives, police encounters recorded on cell phones, and easily accessible therapy – and intensifies the eerie ambiance. However, his message becomes somewhat unclear. Instead of moving forward with clarity, he often revisits themes about destiny and the impact of the past on the present, and seems most assured when incorporating Baraka’s work with genre elements. The director employs various techniques such as jump scares, mirrors, time manipulation, and unusual camera angles (Frank G. DeMarco is the cinematographer) to create a feeling of dread. Furthermore, he enlists frequent collaborator Daniel Hart to produce a chilling and foreboding soundtrack. This adaptation of “The Dutchman” primarily serves as an appealing introduction to Baraka’s work for a wider audience.

As Clay travels uptown on the train, he’s busy rehearsing a speech for an upcoming fundraiser, an exclusive event attended by Black high society, whom he and his friend Warren (Aldis Hodge) aim to win over for their ambitious project in Harlem. Lula approaches him, and almost instinctively, they slip into their familiar roles. Unlike previous portrayals, Holland imbues Clay with a hint of caution. He’s suspicious of this woman who seems oblivious to personal boundaries and determinedly tries to shoo her away. Mara delivers a strong performance as Lula, but Knight’s interpretation seems to follow close behind like an echo.

As a gamer, I don’t let Clay’s refusal discourage me. Pulling out the shiny red apple from my bag, I forge ahead with The Dutchman. We exchange heated words, using Baraka’s electric dialogue as ammunition, before emerging into the open world where our tale takes unforeseen twists and turns.

In this piece, Gaines takes control of the story by incorporating key moments. Some enhancements prove more effective than others. The play “The Dutchman” falters when the director-writer exposes the hidden tension and turns subtext into overt dialogue. Discussions between Clay and Dr. Amiri, where he explains everything, leave little for the viewers to interpret. However, scenes like when Clay and Lula arrive at the fundraiser are different. The scene carries a palpable tension as Lula disrupts the party, putting Clay’s life and reputation at risk. Here, Gaines skillfully portrays Clay’s dual nature, highlighting the pressure he feels due to his mixed identity.

Including more instances where Gaines and his cast could interpret the script freely would have given The Dutchman a smoother overall flow, making it more harmonious, though not necessarily groundbreaking. However, in its current form, the movie, while occasionally enjoyable, may seem fragmented – as if it’s struggling to reconcile the traditional elements of its original work with the innovative ideas of its director.

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2025-03-08 21:57