I enjoyed Girls Trip. I didn’t get all the jokes and I didn’t recognise all the cameos of music performers, but then I’m not part of the demographic targeted by the film. I watched the film because I thought that perhaps this would be a breakthrough of some kind for ‘popular’ African-American cinema. So far, it looks like it will be, since its opening weekend in the UK saw it at No 5 in the chart with £1.56 million (including previews) from 345 cinemas. After three weeks it has a box office of $95 million worldwide. For a film with an estimated $19 million, that’s good business. There are several possible explanations for this success, but first here’s an outline of what the film offers.
I’m guessing that the relevant genre mix derives from films (none of which I’ve seen) like The Hangover (US 2009) and its sequels. Those films dealt with a group of male friends let loose on a weekend in a ‘party city’ with the sequels including some darker elements along with comedy. The more recent Bad Moms (2016) shares some elements but is essentially a female-centred ‘domestic comedy’. More importantly, perhaps, is that The Hangover and Bad Moms were both successful as ‘R’ rated comedies (’15’ in the UK), allowing a level of sexual innuendo and ‘bad’ language beyond the norm for comedy films. Girls Trip is similarly ‘R-rated’, but its four central characters are forty-something African-American women (the actors’ ages range from 37 to 47) who became close college friends as ‘The Flossy Possy’ in the 1990s. Now they are scheduled to meet up after several years at the New Orleans ‘Essence Fest’, the annual music festival for African-American women hosted by Essence magazine. (As the poster above illustrates, Girls Trip isn’t exactly subtle – and this poster was banned in the US, I think – but at least the women get to ogle the men.)
The plot revolves around Ryan (Regina Hall) who has become successful with her husband, ex-NFL star Stewart. The couple have a best-selling book and TV appearances and Ryan has an all expenses paid trip to Essence Fest where she hopes to land a big TV deal that will make her the next Oprah. Sasha (Queen Latifah) is a journalist whose career has stalled. Her future may depend on scooping celebrity scandal at Essence. Dina (Tiffany Haddish) is a party girl who has just lost her job and Lisa (Jada Pinkett Smith) is a seemingly uptight single mother. (Pinkett Smith is also in Bad Moms.) These roles easily set up a range of narrative possibilities and the ‘inciting moment’ comes a little way into the narrative when it is revealed that Ryan and Stewart’s marriage is less than solid and the exposure of the rifts during Essence could scupper the TV deal. Ryan needs her Flossy Possy for support but everything the other three women do, consciously or unconsciously, threatens to undermine her.
As well as the mechanics of the plot and the performances of the leads, Girls Trip has two other important attractions in New Orleans itself as location and the music festival with its galaxy of stars of hip hop, rap and other forms of Black music. This even includes the music of acts like Chaka Khan and Kool and the Gang who old people like me remember. All of this is marshalled into a hectic narrative of action set pieces and girl talk by Malcolm D. Lee. Lee is representative of one of two major strands in popular African-American cinema. His run of hits began with The Best Man in 1999 which he has turned into a mini-franchise and he has also participated in other series with Scary Movie 5 (2013) and Barbershop: The Next Cut (2016) – the latter series is the only one I’m familiar with (see Barbershop (2002) but it seems clear that Lee’s interests lie in comedy with both melodrama and action elements. Lee’s main rival is Tyler Perry who has been releasing his own, almost ‘one man’ (he writes, produces, directs and stars in) productions through Lionsgate at the rate of two a year since 2009. Perry has confounded critics and become very successful. Both these filmmakers have been successful in addressing a mainstream African-American audience with only marginal interest by white audiences as distinct from the work of Denzel Washington, Spike Lee, John Singleton and more recently Barry Jenkins who have been recognised by critics and whose work traverses both African-American culture and generic Hollywood concerns.
The main difficulty in discussing this work from a UK perspective is that most African-American films (i.e. with a direct focus on Black culture) struggle to get a (wide) UK release. UK distributors, when they do take these films, often restrict them to urban areas where they think there is a significant Black audience, but even then, they don’t really seem to know what they are doing. I think Tyler Perry’s work is only available on DVD in the UK. It is this history which makes the success of Girls Trip so important. I watched it in a Cardiff multiplex in an afternoon showing with a mainly white audience of younger women who certainly got more jokes and more references than I did, partly, I imagine because they knew the music stars and contemporary African-American celebrities better than I do. It should still be around in UK cinemas so I’d recommend Girls Trip as an alternative to superheroes (though it does include some fantasy sequences). One other interesting observation is that apart from the UK the only significant overseas market for Girls Trip so far is South Africa (as it has been for earlier films from Perry and Lee). It seems odd that France in particular has not received these titles.