Carl Franklin - Later Career

Later Career

At the end of the 80s, producer Jesse Beaton was looking for a director for a film called One False Move. The script’s edgy appeal needed someone gritty and fresh. Remembering Franklin’s short film Punk, Beaton met Carl to discuss the film’s vision. Hoping to focus more on the character of the story rather than the aesthetics, Beaton understood that Franklin was the right man for the job, making One False Move Carl Franklin’s directorial debut.

Franklin’s approach to the screenplay produced a thriller just shy of the Film Noir genre, dealing with themes of drugs, violence, and sexual relationships. The story follows three drug dealers, played by Billy Bob Thornton, Cynda Williams, and Michael Beach and their interactions with an Arkansas sheriff played by Bill Paxton. Far from his low-budget past, Franklin’s budget of $2 million gave him a bit of room to be creative, and achieve his entire vision for the film. What set this film apart from the countless other cops and robbers movies was Franklin’s insight into the underlying racial aspect that the film presented. With a unique perspective on a classic topic of racial tension, Franklin’s performance as director was praised above all. However, the original version of the film, which was released in 1991, was thought to be overly violent. In response to such claims, Franklin told the Observer, “I didn't want people getting excited seeing how neat someone can be killed… I want the audience to feel the emotional loss of life--the real violence is the loss, the violation of humanity. They've taken from us someone who had dreams, hopes, the same set of emotions we have."

The film is noted for Franklin’s creative use of the pastoral motif. By combining cinematic and literary traditions, Franklin paints a picture of a crime, deeply rooted in the South, pointing out that the real issues at stake date back farther than one would expect. The underlying commentary on the severity of racial issues is one that has not been expressed by many other filmmakers in this way, however, Franklin’s film has been likened to Oscar Micheaux's Within Our Gates (1920), John Singleton's Boyz N the Hood (1991), and Roman Polanski's Chinatown (1974).

Despite the film’s lack of professional publicity, One False Move was largely promoted by word of mouth and earned itself mixed reviews. However, the reviews that were positive were very positive, gaining the project more attention. The film was bestowed the honor of Best Film of the Year by Gene Siskel and Roger Ebert in 1992, and was named one of the 10 Best Films of 1992 by the National Review Board.

Next came one of Franklin’s most famous films, Devil in a Blue Dress. Franklin’s involvement in the production stemmed from Franklin’s admiration for Walter Mosley, author of the original mystery novel. Heavily invested in the project both as a director and fan, Franklin adapted the screenplay himself. Working again with Jesse Beaton, and now with Jonathan Demme as Executive Producer, they were able to obtain a strong, $20 million budget for the film, paving the way for a smooth production. With Denzel Washington on board to play the lead role, the film showed great promise.

Set in Los Angeles in the end of the 1940s, the story follows an African American private detective and his often challenging career. The film’s biggest contribution was its recreation of South Central Los Angeles, in a time when the neighborhood was at its peak of historical relevance. His portrayal of the area touched on a piece of time often overlooked, and reminded audiences of the community values of Los Angeles, and especially hit home for many African American viewers, who appreciated the insight into the family values that define their culture. Reviews for the film vary, again mostly commending Franklin’s ability to capture strife with beautiful directorial skill more than on the film itself. The positive impression left by the film earned Franklin more positive publicity, making Franklin a highly sought-after director to many top writers and producers in the industry.

Switching gears back to television, Franklin directed Laurel Avenue, a two-part miniseries focused on an African American family in Minnesota for HBO in 1993. Franklin’s portrayal of the realities of the African American community were highly regarded, further demonstrating his knack for hard-hitting reality mixed with a deep sentimentality and understanding of humanity. One issue in particular that stood out in the series was the issue of drug use. Franklin defended his depictions, explaining that "Drugs are a huge problem in the black community. Not to include that would be a stupid oversight. But if the subject of drugs is introduced in the context of a hardworking family that has managed to maintain unity, and the audience sees drugs as a threat to that unity, they get a much greater understanding of the problem." The series brought Franklin even more positive reviews, proving that it is his upfront approach to portraying reality that continues to bring him success.

Following Laurel Avenue, Franklin found himself maintaining A-list status, which allowed him to work on bigger and more visible projects, such as 1998’s One True Thing. The film is adaptation of an autobiographical story of a New York Journalist, written by Anna Quindlan. The emotional film starring Renée Zellweger outlines the life of a woman whose life is changed when her mother, played by Meryl Streep is diagnosed with cancer. With no option but to leave Manhattan for the small town where she was raised, the story of mother and daughter unfolds.