#also Luke is the sweetest human alive I love him so much. so considerate at all times even when dealing with his own demons

[duanecbrooks]

Patton General     Remember how I've talked--and more than once--how one of the coolest things about having a DVD player is that it enables you to see--and re-see and re-re-see and re-re-re-see--pictures that you dug when you first saw them in a theater? Well, the fact is, I recently, thanks to said--and fantastically-regarded--DVD player, caught a theatrical film that I saw and dug through watching its trailer on YouTube. That flick, by name, is Baggage Claim, and I can say unequivocally that it's just as stylish, just as qualitative as its trailer--which, again, is on full display thanks to YouTube--wants you to believe. It is indeed a picture that is near-to-bursting with snappy dialogue, attentive direction, and, above all, lively performances--in point of fact, one such performance is easily the highlight of the picture; there'll be more about that as we go on. Indeed, I'll go so far as to say that said cinematic rom-com has worked its way onto my list of Most-Cherished Theatrical Offerings (The others: Body Heat, Boomerang, the great writer-producer-director Garry Marshall's final creative object Mother's Day, and my gal Robin Givens's classic made-for-television film The Penthouse).         Now to the picture in question.             Claim kicks off with a shot of a church that, after around one minute, has a group of happy, celebratory, greatly well-dressed black folks, having obviously attended/participated in a wedding, bustling out of it. Included, of course, are the bride and the groom--and this quite spirited adolescent, who, we learn, will grow up to be Claim's lead character, Montana Moore (Paula Patton). Through voice-over we hear Montana ruminating on her Mom's, ahem, busy romantic past ("Marriage has always been a big deal to my mother. She loves marriage. Especially hers [Cut to another group of spiffily-attired blacks happily emanating from the same church, the same bride and a different groom included]. And hers [Same scene, only with a different groom]. And hers"). From there Montana lays her cards on the table concerning her own romantic life ("A easy as it is for Mom to get married, my relationships have never been cleared for takeoff"). Cut to a mega-busy airport, where we see planes taking off and landing, folks bustling along in a hurry to get to their planes--and where Montana, still in voice-over, discloses to us her lifelong ambition ("I've always wanted to be a flight attendant...You get to travel around the world, meet interesting people"). We're then taken to our heroine's apartment complex, where before she enters her particular abode she runs into her longtime buddy, William Wright (Derek Luke), to whom she further discloses her hopes regarding her romantic situation ("I don't want to spend my life listening to my mother telling me how she could find five husbands and I can't even find one"), whereupon William tells her what his wife Taylor has cooked up ("She planned a trip to Rome to celebrate our one-year anniversary").         Moving forth: We witness Montana rushing through the airport, anxious to catch the flight she'll be working, and, as she races along, we hear yet another voice-over of hers, wherein she gives us some Mom-originated words of guidance ("According to my mother, you're not a woman until you're married on or before your 30th birthday. And you're not a lady until you've had two kids"). We then see Montana having made the flight she'll be working, and we're also introduced to two of our girl's closest working buddies, brother flight attendant--and card-carrying homosexual--Sam (Adam Brody) and sister flight attendant--and frequent Sam adversary--Gail (Jill Scott). Right away we're given a look at the aforementioned Montana buddies' dueling relationship (Sam: "Gail, I seem to have misplaced my badge. Could you check your cleavage for me, please?"). Later, as the three are congregating in the plane's food-preparation area, Montana lets her friends, and us, in on this guy she's been seeing and how it seems to her like the guy is going to pop the question. Gail, for her part, bluntly hurls cold water upon said scenario ("Montana is not getting married. If she was, as her best friend, I would know first"). Shift to Montana with this guy, a smoothly handsome dude named Graham (Boris Kodjoe), where the two of them are affectionately pressed against each other during a cruise and Montana is absolutely over the moon about it all ("Graham, you have talked about [us taking this cruise] for so long...[The view is] absolutely beautiful!"). We get a marvelously-shot montage of Montana and Graham coming together physically--during which Patton shows that not only is she achingly gorgeous but has a BITCHIN' bod--then we see the latter dropping the former off at a hotel, claiming a need to attend to his professional life ("I got an emergency phone call. I got to fly to New York"). When our Montana gets to her room, she calls up gal-friend Gail, who right away demands that her buddy fill her in on the progress of her relationship ("Are you guys doing it?"). Afterward--after zipping down her exercise outfit so a nearby hunk who's also exercising can see her cleavage--Gail urges girlfriend Montana to go out to Graham's house and spy on him so she can ascertain for sure whether or not he's on the up-and-up. To which Montana, no surprise here, initially objects.                 We continue. Claim takes us to Graham's rather luxurious house and Montana sneaking up on said house--fully demonstrating that, pace her initial resistance, she's just dying to know whether or not Graham is playing it straight with her. Upon getting close to the aforementioned house, Montana rings up Gail, who, respectively, upbraids the former ("I didn't think you would do it [follow Gail's advice to spy on Graham]!") and instructs her ("Do not knock on that man's door! You'll look like a stalker"). Upon looking in the window, Montana, and we, see Graham in his living room going over some papers, which greatly eases her mind (Montana in voice-over: "[Graham] was preparing for his meeting, just like he told me he was. Gail was wrong!"). Alas for her, however, Montana, along with us, sees a stunning woman enter and Graham fondly helping her off with her coat--both of which clearly saying that Gail's suspicions were entirely valid; Graham indeed does not consider himself, and never considered himself, Montana's guy alone. Having been thus chastened, our gal makes a quick--and quite saddened--exit. In time we're transported to Montana's apartment and witness the drop-ins of Mom Catherine (Jenifer Lewis) and younger sis Sheree (Lauren London), both of whom bearing big, big news (Catherine to Montana: "We [she and Sheree] are so excited! We wanted you to be the first to know." Sheree to Montana: "I wanted you to be the first to know." Catherine: "After me"): Sheree is getting married. This, unsurprisingly, distresses Montana big-time and we next see her in a bar pouring her heart out to Sam/Gail ("I just can't go to my little sister's wedding alone! I'll be the laughing stock of the family"). Sam at first seizes upon Montana's predicament to stick it to Gail ("Why don't you take Gail? She never waxes her moustache. [Your family will] think she's Steve Harvey"), then comes up with the notion of Montana's "accidentally" encountering all of her exes until she finds the one who will accompany her to Sheree's wedding. Here we meet Montana's other working pals, among them Cedric, the fellow who checks passengers before they board ("First name, Cedric. Last name, take everything out your pockets! I need your pockets out your pockets!"). Since the scheme came from Sam, Gail balks at it, but he pushes on, citing the considerable, as he sees it, benefit to Montana ("[W]e can come to the aid of the sweetest, most fantastic human being alive").             Let's press on.Montana is at first resistant to Sam's ploy but then Catherine makes another visit, again guilt-tripping her oldest daughter ("I started thinking, my daughter is marrying a handsome, athletic young man. I may not be alive to see my oldest daughter do the same"), and, upon Catherine's leaving, Montana is on board concerning Sam's notion. As William is driving Montana to the airport, he comes up with some especially wise words--"You know, Mo, the magic isn't in getting married. It's in staying married." We get further introduction to Montana's charmingly loopy working friend Cedric as he's going about his business regarding passengers ("I have no life! Which gives me all day to ruin yours!"), then Montana boards this plane wherein she'll meet, according to Sam, her first prospect, one Damon Diesel (Tremaine Neverson)--who, let it be said, was initially dismissed as  prospect by Gail ("You gotta be kidding me! Damon Diesel can barely take care of himself, much less a family"). Montana is ready to dump the entire plan when, lo and behold, Damon spots her and lets her know that he has ("I'd love to see the stitches in that skirt"). Having discovered each other, the two get to be on friendly terms, to the point where Damon responds quite favorably when Mo enquires as to just how long he'll be in town (Damon: "Long enough to spend some quality time [with you]. If I'm allowed." Mo, smiling warmly: "You're allowed"). As they spend more time together, Damon becomes more and more enamored of Montana (The former to the latter, with clear-cut affection: "You could stay awake for the rest of your life and you'd still be beautiful to me"). In time Damon takes Montana to what he tells her is her place and she, along with we, find him taking a nice, warm bubble bath--in which he eagerly invites Montana to participate. However, trouble, big trouble in paradise soon comes, at first knocking on, then banging and, eventually, screeching at the door, in the form of Janine (Tia Mowry), a key executive at Damon's label and his current main squeeze to boot. Having met Montana earlier when she stopped by her and Damon's table to remind him of an upcoming meeting, Janine, her Spidey sense going full-blast, is well aware of the likelihood that Montana is inside with him and the prospect has her going flat-out postal ("Damon, I know you hear me! Open this damn door!...Damon, I know you ain't got that 'ho from the restaurant [referencing Mo] in there!...I'm gonna shoot you and that bitch!...Open! Open, open, open, open!"). Happily, and at Damon's urging, our lady manages to hide out on the stairwell outside while, inside, Janine continues hollering and ranting at Damon. Yet it soon goes from raining to pouring when Catherine calls, inviting her dear daughter to a pre-wedding slumber party ("We're all here in our pajamas, and we want you to come over"). Montana, for her part, winds up slinking away, having been thoroughly defeated and being totally dejected.               More transpires. On a flight she' s working, Montana happens upon two former  beaus--Curtis and Langston Jefferson Battle III (Taye Diggs), the latter currently running for Congress. Montana and Langston wind up together and the latter wasts no time turning his considerable charm on her, inviting her to a meeting he's scheduled to have with a hoped-for financial backer (Him to her: "Would you happen to know a young lady--gorgeous, intelligent--who would be so gracious as to join me?" Her, in a warm tone: "If I'm asked." Him: "Consider yourself asked"). Fast forward to that meeting, where we see Mo and Langston hook up with that hoped-for financial backer, one Howard Donaldson (Ned Beatty), accompanied by his wife. Right away Donaldson is warm and gracious toward Mo ("Young lady, I hope you can withstand this election [involving Langston] will surely bring"), then Langston tells their waitress what he'd like to have and...he orders for Mo, also. This of course mightily pees her off, so Langston takes her off to one side and "explains." ("[Financial supporters] want to know that the candidate they're backing is a take-charge man. A leader"). The evening continues and, to Langston's great delight, Donaldson strongly takes to him ("If you're not elected to Congress, it won't be because of insufficient financial support"). Yet the evening takes a fiercely uncomfortable (for Langston) turn when Donaldson raises the issue of just how "black" Langston genuinely is, eventually bringing Tiger Woods's alleged lack of real and true "blackness" into the conversation. Understandably wanting to lighten the increasingly grim mood, Mo quips: "What I think would make Tiger Woods black is that he drives an Escalade and his Daddy's name is Earl." Her humor, however, doesn't go over well with Langston and when the two get back to the latter's hotel room, he aggressively bawls her out. In the midst of his denunciation the phone rings and, when Langston picks it up, he discovers that it's Donaldson with good news: Being wholly enchanted by Mo's wit--after the call, Langston informs her, and us, that Donaldson told him that her wisecrack "was the highlight of [Donaldson's] evening"--Donaldson has decided to double his monetary contribution. Yet rather than recognize and express appreciation for the obvious fact that Montana was an enormous asset to the evening, Langston patronizingly tells her The Facts Of Life ("[S]ometimes being [the] greater [woman besides the man] means being quiet"). Here our Mo naturally becomes fed up and, after telling Langston off big-time ("New actions, new outcome. Same asshole, same outcome...You haven't changed a bit. Langston"), she angrily storms out, permanently crossing him off her list.           And so Claim goes, with Montana at last finally sucking it up and telling her assembled family that she doesn't have a boyfriend and that that fact doesn't have any negative impact on her ("Marriage doesn't make you a lady. Any more than standing in a garage makes you a car...I like me. A lot. With or without a husband"), at last finally discovering that it's her old and cherished pal William who's her real and true love--which brings about a cinematic-rom-com first: a woman (our Montana) rushing to and through the airport in order to intercept her male love object (William)--and at last finally William getting down on his knees right there in the airport, slipping an engagement ring upon our lady's finger, warmly proposing marriage, and our gal tearfully--and happily--saying yes, culminating in joining William on his knees and the two of them sharing a soulful and loving kiss while still in the airport--a scene which is just as moving and winning as when Kevin Costner and Kelly Preston did it at the conclusion of the former's legendary baseball picture For Love Of The Game. Claim ends with Mo pals Gail and Sam, relieved that their lady buddy's romantic melodrama is over, sharing a taxi and winding up battling with each other over a man that they previously didn't know they shared (Sam to Gail: "You bitch! That's my man! I had him first!").           So that's Claim, a flick that not only deserves high marks for being a black-oriented picture that to a greater degree than even Boomerang staunchly refuses to in any capacity shove race down our throats--the aforementioned scene with Montana, Langston, and Donaldson and his wife is literally the only time during Claim's unspooling that race is dealt with and, as was not the case with Boomerang, not in any victimization sense--but merits praise for being, on its own, a highly likable, warmly funny, and smoothly stylish theatrical rom-com. Ned Beatty, as said financial backer Howard Donaldson, is appealingly unctuous and, in time, appealingly race-conscious. Tia Mowry packs her role as "spurned" woman Janine with sizzling energy and rousing humor. Jenifer Lewis as Montana Mom Catherine is engagingly commanding and, in her confession scene with Mo, engagingly forthright. Christina Milian, as kid sister Taylor, wins us over with her dazzling spunk and her unflagging fizziness. Jill Scott and Adam Brody, as Montana compadres Gail and Sam are entirely warming with their steadfast loyalty and their graceful sparring. All of the men in Montana's life--Djimon Hounsou as a hotel magnate who is the deciding factor in Montana's eventual determination to absolutely refuse to allow a man to define her; Diggs, Kodjoe, Neverson, and Luke, the fellow our lady with whom she at last finally winds up--are all stylishly amiable and agreeably manly. David E. Talbert, adapting from his original book, provides the cast with spicily humorous and spicily sexy things to say and do. And Talbert the director deftly creates an air of tangy camaraderie and simmering sexuality that, to his great credit, he maintains throughout the entire picture.             Now to Paula Patton. She is, in a word, sensational. Starting off with the fact that her slender statesqueness--she's 5'7", to be precise--gives her a forcefully enticing valkyrie appeal, she's an honestly captivating blend of urbane beauty, Seven-Sisters-colleges charm, and Katana-sharp intelligence. Whenever she's in a two-shot, regardless of who the other actor is, her carefully-polished good looks and her runway-model sexiness have your eyes riveted upon her. You might remember that, in an earlier article, I discussed the sincerely depressing scarcity of contemporary big-screeners in which there is the emergence of a real and true female star, the monumental lack of modern-day pictures which feature the appearance of an honest cinematic diva who shines mega-brightly and who easily towers not only over her brother-and-sister theatrical-film actors but over us as well, such as Julia Roberts in Pretty Woman and Sandra Bullock in Speed and my lady Robin Givens in Boomerang. It is Baggage Claim that forcefully and proudly shows that Paula Patton deserves to be added to that woefully short list.