After 25 Years, Charles Burnett's 'The Annihilation of Fish' Finally Makes Its Romantic Debut!

Despite not being a production from a big studio, there’s a fresh romantic comedy making its way to U.S. theaters this Valentine’s Day weekend – interestingly enough, it was filmed over 25 years ago! The late James Earl Jones and Lynn Redgrave take on leading roles as elderly neighbors who unexpectedly fall in love in “The Annihilation of Fish.” This classic film has been beautifully restored in 4K by Kino Lorber and Milestone Films.

Initially premiering in New York City before spreading to Los Angeles and selected cities, the film showcases three exceptional actors performing at their peak, alongside director Charles Burnett. Once recognized mainly within independent film circles, Burnett’s reputation has soared in recent times due to the re-release of his UCLA thesis film “Killer of Sheep” – a poignant blend of humor, melancholy, and raw realism set in the Watts neighborhood of Los Angeles. Despite this, Burnett’s fifth feature, “The Annihilation of Fish,” remained largely overlooked for over two decades.

Based on the account provided in the restoration’s press notes, a critical review from the Toronto International Film Festival in 1999, which was less than favorable towards the EbMaster version of Burnett’s film, caused distributors to shy away from it. As Burnett’s reputation flourished, the rights to “The Annihilation of Fish” were ensnared in legal complexities due to the original producer’s bankruptcy, which prevented them from being released.

As a movie enthusiast, I wholeheartedly believe that films have an uncanny ability to evolve with time, and often do so quite dramatically. It’s not always the case that a movie’s significance or impact becomes clear immediately; sometimes, it takes a while for its true colors to shine. And if, after all this time, people still haven’t grasped the beauty of your creation, as a filmmaker, you can’t help but feel a sense of acceptance rather than disappointment. That’s one of the wonders of cinema – its capacity to grow and adapt over the years, taking on new meanings and resonating with different audiences at various stages in their lives.

Nevertheless, Burnett laments the lack of acclaim Redgrave, who passed away in 2010, may not have received from audiences as we had hoped. In truth, “The Annihilation of Fish” is a captivating gem: a remarkable piece of cinematic craftsmanship that warrants recognition beyond just being an historical artifact. Jones and Redgrave deliver nuanced and profound performances as characters Fish and Poinsettia, two newcomers to L.A., each harboring their own peculiar misconceptions. He is a Jamaican-American who frequently battles an unseen adversary with underhanded tactics; she is a transplant from the Bay Area grappling with a messy breakup with the long-deceased opera composer Giacomo Puccini. Initially, they each believe the other to be insane, but their bond deepens as they learn to accept one another’s unique circumstances. Burnett’s direction is equally empathetic, particularly in a humorous touch: a tree branch that stirs and trembles every time Fish shoves his unseen nemesis out the window.

Burnett explains, “We included an additional element to better understand his perspective and make it authentic in some way. Perhaps it’s not strange; perhaps it’s genuine. They have their unique realities to navigate, but they still require one another to ward off loneliness. In the end, once the barriers are torn down, they recognize that what truly matters isn’t our distorted ambitions, but rather the many shared aspects of life.

For Burnett, compassion isn’t just emotional. It’s a political stance, an extension of his roots as a student filmmaker who sought to bring about social change through his art. As “Killer of Sheep” provided an unvarnished glimpse into the lives of people in his community, “The Annihilation of Fish” fosters a love story through its empathetic portrayal of mental health issues.

Each time I create a movie, certain aspects are essential, Burnett explains. “It’s not about generating profits; it’s about other things,” he says, referring to paying off student loans and such trivial matters. “We’re billions of light-years removed from reality. It’s insane. Yet here we are, these people. It’s just insanity. That’s what films should be about – the good ones reflect life without complicating it further.

This isn’t your first time having a films rediscovered by a wider audience. Your feature debut “Killer of Sheep” re-premiered in 2007 after clearing music rights. How does this experience releasing “The Annihilation of Fish” compare to that last one?

Back in the day, I made a movie called “Killer of Sheep,” which wasn’t intended for cinematic release initially. It was essentially a thesis project, a means to earn my grade. The catch was, without union approval, it wouldn’t have seen the light of day. As a minority filmmaker, I already faced an uphill battle. But fortune favors the bold, and sometimes, you get lucky enough to show your work overseas.

I remember there was this widespread belief that Europeans weren’t keen on African American films. Yet, when I screened “Killer of Sheep” abroad, the response was surprising: “Why don’t we see more movies like this?” It served as a reminder that sometimes, our preconceived notions can be far from reality.

Why don’t they?

The institution refused to acknowledge those problems; instead, they focused on movies like “Birth of a Nation,” known for its overt racism alongside “The Searchers” and other films. Yet, when presented with “Killer of Sheep,” they questioned why there weren’t more movies like this, finding it unique. Many would find value in such content. It’s clear how racial stereotypes can manifest and deepen divisions within society. Figures like Ron DeSantis argue that these depictions are humiliating to white children and try to remove anything educational about our identity. They aim to suppress anything that helps people comprehend who we are as individuals. Unfortunately, Hollywood often plays a role in this, promoting narratives that dehumanize us. During our filmmaking process, we aimed to tell stories that would benefit not just America but all humanity. At UCLA during that time, our goal was to influence public perception and change attitudes.

There were many casting permutations discussed in the development of “The Annihilation of Fish,” including Sidney Poitier and Danny Glover for Jones’ role and Anne Bancroft and Joan Plowright for Redgrave’s. How did you find Jones and Redgrave ultimately shaped the film from the plans you began with?

As a movie enthusiast, I’ve found that independent films, where actors aren’t paid upfront, don’t always align with agents’ preferences. Agents earn no commission from these projects, making it less appealing for them to encourage their clients towards small productions. However, there are exceptional talents like James Earl Jones who prioritize working on quality films over their agents’ advice. We were fortunate enough to attract talented individuals such as Lynn, James, and of course, Margot Kidder. Despite a few negative reviews we encountered along the way, I can only express gratitude for the faith they showed in our film, showcasing their dedication and commitment to the project.

In EbMaster…

Hey there, life goes on as it does. These kinds of events are quite common. Fortunately, we managed to get through it with the help and support around us.

I think of you as a Los Angeles filmmaker, so I was surprised to learn you’re in New York right now for this interview.

Recently, I flew up here, primarily for Kino Lorber and their team. We’ve collaborated on a project aimed at advertising a film, which is why I’m here temporarily. Occasionally, I visit this bustling city. It’s convenient to drop in and depart swiftly. New York, in many ways, is an intense place, constantly demanding your attention, yet it occasionally offers captivating moments.

I’m not sure what your relationship is these days, but “Killer of Sheep” star Henry G. Sanders lost his Altadena house in the Eaton Fire in January. Have you reached out to him at all?

It turned out that we were conducting interviews for Kino Lorber when I had a conversation with him. Little did we know that his house would be in flames later that day in Altadena. Fortunately, Ava DuVernay and her friends organized a fundraiser to help rebuild the home, which is truly commendable. Indeed, one of the benefits of being involved in film is that it fosters empathy, so we’re delighted about this development.

Are there any other films of yours that are still seeking a way into the world?

As a film enthusiast, I can only hope that future opportunities in the industry arise for me. This line of work is often fraught with rejections, even when the scripts are exceptional. It’s just part of the game – when someone else’s money is on the line, they tighten their grip. You have to stay patient and find solace in the fact that I’ve been able to create a few films, most of which turned out well, while some didn’t quite hit the mark. Regardless, I’ll keep pushing forward, learning from each experience, even the less successful ones.

In a way, the bad ones can make those next ones better.

Mmm — that I don’t know!

Too optimistic?

Frankly speaking, I have to admit that’s not something I entirely agree with! Here’s what strikes me: It’s primarily about the process we’re discussing here. Time and again, people approach me expressing gratitude for my movie, claiming it has transformed their lives. If someone can assert, “This modest $10,000 production had a profound impact on my life,” then I can certainly endure all the other unfavorable comments. If there’s one thing that’s indisputable, it’s that it’s made a difference.

2025-02-15 22:48

After 25 Years, Charles Burnett’s ‘The Annihilation of Fish’ Finally Makes Its Romantic Debut!