Sanaa acts as if she don’t know what she just did…

Being too comfortable in a dress may have helped the new king of black Hollywood to learn a few things about what women desire. Director/Writer/Actor Tyler Perry manages to orchastrate his cast headlined by Academy Award winner Kathy Bates and Academy Award nominee Alfre Woodard in this scandally delicious contemporary drama of two very different families being torn apart by greed in The Family That Preys.

The sixth feature film by Perry chronicles the inner workings of two interesting families that have been joined together by love, lies and lust. Bates play Charlotte Cartwright, a wealthy Southern belle who’s socialite status has afforded her to live the American Dream. Her best friend is Alice Pratt (Woodard) is a working class woman with high ideals. Their families are linked upon the marriage of Pratt’s eldest daughter Andrea (Sanaa Lathan) to new husband Chris (Rockmond Dunbar) as provided by the Pratt family trust.

Perry is blessed with this gifted veteran cast and his Madea-free script allows the cast to blossom in their roles. The plot thickens when Charlotte spoiled son, William (Cole Hauser), engages in an elicit affair with Andrea. Unbeknownst to the audience and both families, the affair is mildly hinted with subtle reference that when executed has mixed results.

In one scene, Chris – an optimistic and hopeful construction worker with dreams of having more – comes to see his wife after finding out that she has some money stashed away. Andrea tries to shoo him out of the office, but her boss, William, comes in to spoil the mood. In a dramatic flair of ego and cockiness, William is assured in his confidentiality agreement with Andrea, Chris’ wife, and even takes time to entertain his whimsical dreams of fancy and forward movement. The joke comes where William says, “Tell my 2 o’clock that I’ll be 15 minutes late,” and the secretary conveniently calls Andrea seconds after the two bosom buddies to let her know that “the boss” will be 15 minutes late.

It is with that where Perry wins. Past moments of brillance in Why Did I Get Married and Diary of a Mad Black Woman hint at Perry’s keen sense at being able to punctuate a moment, but in other times, he allows the joke to run on too long. Dunbar is as blind as Stevie Wonder in his role as Chris and cannot see what seems to be in front of everyone’s face until it’s too late. A clear sign that all the character’s development is not balanced and correlating truly to the story.

But the affairs and dramatics aside, love and faith – two of Perry’s most common themes – are the driving force behind The Family That Preys. Bates and Woodard blend seamlessly as women from two different sides of the coin who come together amidst a secret of grave purportions. Their unifed strength goes against the grain amongst two houses divided.

The softer moments in the film are subdued and provide a much needed balance to the ‘Ooooh, no you didn’t!” moments that are subliminally and overtly filled throughout this movie. Taraji P. Henson plays baby sister, Pam, who’s the spiritual and physical motivator within the Pratt family. But when the fireworks go off, there aren’t too many people who can deliver dramatics quite like Mr. Tyler ‘Madea’ Perry.

All in all, if Perry has the keys to Hollywood – no matter how he got in – they can no longer turn him away and if he continues to make films with such diversity and style like The Family That Preys – he may have converted some new followers.

For more on Tyler Perry, check out our I’m Just Saying… blog.

There are moments when opportunity meets preparation and the results are blissful. The Urban Daily was able to sit down with the beautiful and supremely talented duo of Sanaa Lathan and Taraji P. Henson, two stars in Tyler Perry’s ever expanding cinematic galaxy – The Family That Preys. But these sisters from another mother sit down and breaks bread with The Urban Daily about being black in Hollywood, why black love is in a state of emergency, and answers who has the better smack – Rockmond Dunbar or Tyrese.

The Urban Daily: How did you feel about being in the movie?

Sanaa Lathan: I loved it and when I was asked to do a table read, I enjoyed it, greatly. I love what Tyler Perry’s doing in Hollywood. He’s a maverick onto himself. He’s creating his own lane and he’s giving voice to black Hollywood, so I’m just really proud of him for that. I was happy to do the read-through when he asked me. These are the fun roles to play. Who always wants to be the good girl all the time? I certainly don’t. Part of the fun of being an actor is to be able to do a range of characters, so I jumped at the chance.

TUD: Taraji – you play a married woman in the film – how was that for you?

Taraji Henson: It was quite strange because I’ve never been married before [laughs]. It was fun actually, really fun because I feel like that was the first character in my career that wasn’t really dysfunctional. That’s what drew me to the script. You know… the main thing is that I have to fall in love with the character. I felt I needed to do a character like that because in Hollywood, if you do a character really well, then they wanna keep you boxed in. My name doesn’t fit in a box, so I don’t know how you’re going to fit me in one. That’s why I did Boston Legal, after Baby Boy, I went to Lifetime and did a cop show because I didn’t wanna be stuck as some baby mama in the hood. I was drawn to it for that reason and in this movie, she [Pam] is funny. I really want to do comedy. That’s really my strongest attribute. When I got the call, they told me that Alfre [Woodard], Kathy Bates and Sanaa Lathan were attached and I loved it.

TUD: Would you say it’s a good time to be black in Hollywood?

SL: Well, Tyler is certainly making it that way. His studio is huge. You guys see that… He’s really on par with people like a Paramount. What he’s created down there in Atlanta is really awesome! He has the crew, the equipment, the drive and the passion to make it all work. He’s got it going on. I’m so impressed by him!

TH: I also wanted to work with Tyler Perry, but I wanted to do it at the right time. I felt like this was the right film. He’s trying out something new. I wanted to be a part of his new experience… and he offered it to me. I don’t get that much respect in Hollywood. I gotta fight for everything that I get. Nothing is handed to me and on this one, I was blessed that he wanted me to be in this movie.

TUD: Do you think that more opportunities will open up for others behind the scenes?

TH: I really hope so. Tyler has opened up his own studio and he’s starting to take on new projects, new writers and wants to look at other material. So, hopefully, yes… Hopefully for all of us, it gets a little bit easier. You just gotta stay optimistic. You have to believe that a change is gonna to come.

TUD: In The Family That Preys, Sanaa – your affair is also interracial. Could you speak on how that was to do and how it translates on screen?

SL: The thing that I like about it [the affair] was that Tyler never really mentions race explicitly. We’re going to see a white man, a black woman or a black woman and a white man, but I like the fact that these are two families. One is black and the other is white. It could’ve easily been two black families dealing with the same issues. Or two white families, one working class and the other one from wealth. I think the audience is going to project their own “interracial” connotations, but for me, it’s just people. These two people are having an adulterous affair, you know what I mean? They’re doing some dirty you-know-what [laughs]!

TUD: As a woman, Ms. Henson, how do you feel about black relationships?

TH: Ooohh… I’m so sad. I thought about this the other day because I have a birthday coming up. We are in a state of emergency in the black community. I can’t understand it. I have a lot of male friends who, when we get to talking, are like, “Well, you know… slavery…” I’m like, “Okay, you know what…? We all went to college. We’re all intelligent. We know our history. Can we fix it now?” Stop leaning on what happened way before you were thought of and focus on how you can change it. At some point – I hate that word sometimes because it’s an excuse – but “trying” to climb that mountain may be a start. At some point, you’re going to have to put your stuff down and climb the mountain.

TUD: So, you think that that’s a reason why we can’t get over things in a relationship?

TH: I blame it simply on immaturity. I don’t blame it on one gender or anything. As a woman, I will say that I’m open, willing and ready [laughs]. A lot of the guys that I come across are just very immature. They don’t want to learn. I don’t know what their fear is. I have a lot of male friends of other races and they seem to be raised with the understanding that you’re going to get married. That’s how they are. They think growing up that they’re going to meet someone and they’re going to get married. I don’t know where the breakdown happens in our families, but I do know that I’m raising a son and telling him to find a woman. I’m not going to be your woman, I’m the mother, so my son will have to grow up, become a man and find a woman who fits him right and he’ll make her his wife. He grows up knowing that.

TUD: There’s a scene where your character, Andrea, gets roughed up by Rockmond Dunbar. Ms. Lathan – how was filming on that day? Tense?

SL: It’s so funny that you said that because someone who saw the screening said, “That’s really messed up,” and I asked, “Why? She deserved it. She deserved that abuse.” He said, “There’s nothing she could have done to deserve that kind of treatment.” Not only does Rock’s character slap mines, he backhanded her across the table [laughs]. That’s a character’s moment and a character is complex. A movie is not about being politically correct in the story, so that day was really, really fun. We did a lot of takes on that day.

TUD: Taraji, if you had to compare which fight was better between Sanaa’s in The Family That Preys versus yours and Tyrese’s in Baby Boy – which one would you say was worse?

TH: I’d say The Family That Preys. Yvette didn’t have it coming [laughs]! I did attack him, but it was reflexes. He didn’t line it up and hit me straight up, you know…? It was kind of like “get off of me” and I was just standing in the wrong place at the wrong time. I don’t think it was his character’s intention to hit me.

TUD: With all these changes in Hollywood and in the country, if Obama gets in – do you think that that will continue to help things?

TH: I certainy hope so, but you know you just don’t know. When you’re overcome by fear — I was reading a book called Dear Lover and in the book the author (David Deida) said, “A lot of men, the reason why they don’t get married is because they have a false sense of freedom.” Freedom, to me, sounds like, “I can date this one. I can date that one.” But once they grow older and realize that it’s empty, they see the true freedom is in love. Being with your partner is freedom because you’re free to be yourself. You’re free to just let it all hang out if it’s the right person. That’s the true understanding of freedom. A lot of men think that if they get married, they’re giving up so much. But then I look at these guys and I’m like they’re all unhappy. When you have to deal with that loved one, that’s what a relationship will force you to do to not be brand new.

I have never been a fan of Tyler Perry. There, I said it. While I will watch anything Madea is in within the privacy of my own home, preferably with the blinds drawn and curtains closed, something has always bothered me: Is it me or does dude have a problem with dudes?

From Diary of A Mad Black Woman to Tyler Perry’s Why Did I Get Married? (nice move naming EVERYTHING after yourself too… Even Oprah is not that hard-bodied), there’s always that one male character you have to hate. I think my favorite was Diary of Mad Black Woman’s Charles (played by Steve Harris). He seems to be Perry’s archetypal “no-good nigga.” He’s arrogant, phillandering, demeaning and physically and verbally abusive. He is, in a word, awesome. Just joking. But my point is, there is a “Charles” in damn near every Perry film. Why is that? Was dude often beat up by the bigger boys at school? Did young Tyler see the inside of one too many lockers in high school? I don’t know.

All that said, I was a little apprehensive about seeing a screening of Tyler Perry’s The Family That Preys (again with the name thing… we get it!). I just knew that at some point a brother was going to either cheat on his wife or beat the hell out of her. Well, well, well, Mr. Perry. I have to apologize. Imagine my surprise when, after 111 minutes, the credits roiled without any of that happening. I mean, there is a little domestic violence… but she so deserved. Nah, seriously. Just see the movie and you will see.

So, my hats off to you, Tyler Perry. It seems as though you have finally gotten that chip off your shoulder. Not all of us are bad. I am just saying…

The sixth feature film by Perry chronicles the inner workings of two interesting families that have been joined together by love, lies and lust. Bates play Charlotte Cartwright, a wealthy Southern belle who’s socialite status has afforded her to live the American Dream. Her best friend is Alice Pratt (Woodard) is a working class woman with high ideals. Their families are linked upon the marriage of Pratt’s eldest daughter Andrea (Sanaa Lathan) to new husband Chris (Rockmond Dunbar) as provided by the Pratt family trust.

Perry is blessed with this gifted veteran cast and his Madea-free script allows the cast to blossom in their roles. The plot thickens when Charlotte spoiled son, William (Cole Hauser), engages in an elicit affair with Andrea. Unbeknownst to the audience and both families, the affair is mildly hinted with subtle reference that when executed has mixed results.

In one scene, Chris – an optimistic and hopeful construction worker with dreams of having more – comes to see his wife after finding out that she has some money stashed away. Andrea tries to shoo him out of the office, but her boss, William, comes in to spoil the mood. In a dramatic flair of ego and cockiness, William is assured in his confidentiality agreement with Andrea, Chris’ wife, and even takes time to entertain his whimsical dreams of fancy and forward movement. The joke comes where William says, “Tell my 2 o’clock that I’ll be 15 minutes late,” and the secretary conveniently calls Andrea seconds after the two bosom buddies to let her know that “the boss” will be 15 minutes late.

It is with that where Perry wins. Past moments of brillance in Why Did I Get Married and Diary of a Mad Black Woman hint at Perry’s keen sense at being able to punctuate a moment, but in other times, he allows the joke to run on too long. Dunbar is as blind as Stevie Wonder in his role as Chris and cannot see what seems to be in front of everyone’s face until it’s too late. A clear sign that all the character’s development is not balanced and correlating truly to the story.

But the affairs and dramatics aside, love and faith – two of Perry’s most common themes – are the driving force behind The Family That Preys. Bates and Woodard blend seamlessly as women from two different sides of the coin who come together amidst a secret of grave purportions. Their unifed strength goes against the grain amongst two houses divided.

The softer moments in the film are subdued and provide a much needed balance to the ‘Ooooh, no you didn’t!” moments that are subliminally and overtly filled throughout this movie. Taraji P. Henson plays baby sister, Pam, who’s the spiritual and physical motivator within the Pratt family. But when the fireworks go off, there aren’t too many people who can deliver dramatics quite like Mr. Tyler ‘Madea’ Perry.

All in all, if Perry has the keys to Hollywood – no matter how he got in – they can no longer turn him away and if he continues to make films with such diversity and style like The Family That Preys – he may have converted some new followers.

For more on Tyler Perry, check out our I’m Just Saying… blog.