This article was first published by Rich Perez on his personal blog and can be read at here.
In the Heights, Warner Brothers 2021
Like everyone else, we were excited. Beaming with pride that any semblance of our story — our neighborhood story was being told on the silver screen. We were especially proud because our son, who has been acting for 6 years now, was able to land an on-screen background role in the movie. So, no matter what suspicions or reluctance some of us had about which story would be told, “In The Heights” had us all waiting with eager expectation.
And it delivered…kind of. Well, it’s complicated. Within a few days of its long anticipated premier, social media and news outlets like The Root exploded with criticism mainly about the movie’s misrepresentation of Washington Heights, a neighborhood that recently was canonized as “Little Dominican Republic” to pay homage to the many Dominican residents that call it home.
And that may be the source of the rub.
There are much smarter people than me talking about the nuances of Latinx identity. I won’t attempt to be scholarly about that. These are my reflections, most of which are birthed out of my experiences as someone deeply shaped by Uptown culture. The only other motivator here are my kids, who I feel the exciting responsibility to pass on the legacy of my identity so that they could discover who they are.
Art will always be complex
No matter how deeply a piece of art is connected to a real moment in history, place or person, its expression will always be at the mercy of the artist. As enjoyers of art, there will always be room to insert your observations or interpretations of the piece, but ultimately the artist decides — even if subconsciously — what the pen writes, what the brush strokes, what the camera captures. Lin-Manuel is the architect; he’s the artist. In The Heights was shaped by his experiences of Uptown (mainly Inwood, or Dyckman for us natives, which is the northern most part of the neighborhood. how that difference shapes his storytelling is also important, but for another time). For those of us that took to the theaters in celebration of what could be, we watched a movie about a neighborhood that existed in his imagination. and we didn’t leave with the level of satisfaction we had hoped for. Why? Because we don’t live in his imagination. Not as main characters, at least.
Art will always be complex, because art is birthed out of us. And we are complex beings who are shaped by nuanced experiences, privileges or lack thereof. We’re shaped by our desires and preferences — spoken or unspoken. As the architect Lin created what he imagined, a “mosaic.” But therein lies a fundamental obstacle. Washington Heights is not a mosaic. While it may be home to a variety of Latinx identities, Washington Heights is demonstrably Dominican; Afro-Dominican.
There have been so many Mexicans, Cubans, even Brazilians declaring their praise for In The Heights because they felt seen. And rightfully so, their flags and accents were in the movie. They felt seen because they were on screen. The movie’s effort to celebrate Latinidad (I don’t want any of the smoke that comes with this word) was beautiful but it minimized the Dominican story that lives in the very air of this community. Now, this is dicey, because I’d hate for this to be interpreted as a campaign to not celebrate those cultures. This is not that. We should celebrate them.
This is, however, an effort to show that Latinx expression varies across the different Latinx ethnicities, and this movie was an opportunity to put that on display.
Beyond the tasks of filmmaking
Casting, as much as the wardrobe, the script, the director, or any other department on the set of a movie, is not so much a task, but an opportunity. Better yet, it’s a responsibility to build the world of the film. And in the case of a movie about a neighborhood with such a unique expression, it is difficult to see the right cast in the backdrop of the wrong setting. It’s also devastating to see (on the big screen no less) our streets, our bodegas, our corners, our stoops with strangers occupying them. Even more — what the cast wears, how they sound, their accent, their syntax, their references, their isms, their music, their skin color, the smells of the movie, el sabor of the movie. All of those are special and important to the telling of our story. All of those serve as bricks in the construction of the world that the movie promised simply by virtue of its name. Oh, how i wished there was a perico ripia’o or a number with una bachatica ensendi’a!
But this is not In The Heights through my eyes, nor your eyes. It’s through the eyes of two Puertoriqueños, one of whose relationship to the Heights could perhaps be understood as periphery having grown up in West Philly. This may be the reason for a heavy presence of salsa music and a dominant Puerto Rican cast. Even if they played the role of Dominicans. This may explain why the beloved piraguero cooled los vecinos from the sweltering heat with piraguas and not frio frios. ¡Dame uno de chinola!… not parcha. When you know the artists, you better understand the art.
And as for the visual direction, well, that was in the hands of an Asian man and a white woman. Jon Chu and Alice Brooks are responsible for what, and more importantly, who, is captured by the camera. And listen, this is no indictment on them for those things. I could never. And I wouldn’t want to. But it is a call to awareness that they are the source of this art. And the truth is that perhaps for some of them, this wasn’t their story to tell.
Casting directors and other executive roles in the film-making journey are like the visual managers at retail stores. It’s their vision that decides which mannequins and outfits are considered most attractive for the windows that face the street. Yes, we got to see Latinos on the screen in ways that we never have, yet there still remains glass ceilings to be shattered for the Afro-Latinx community. Perhaps much of the frustration is coming from the expectations we had on this movie to deliver some of that shattering.
Nonetheless, as a Dominicano from Uptown, Lin-Manuel has given me sufficient reasons to be proud of my Latinx identity — no matter how nuanced it may be. But we shouldn’t make the conclusion that critique means that we hate the project and can’t appreciate it generally. I think Lin knows that. He’s also just an artist navigating all the heat his work is receiving. That’s no easy place to be in. I get that, too.
I won’t beat a dead horse. Afro-Latinos were desperately absent in the foreground of this story, and thus, in the present imagination of its creators. But it’s important to share that I won’t condemn anyone for not highlighting me in their imagination. None of us can, I suppose. We can only hope to inspire imagination, stretch it with truthful criticism — whether it spills out of us harshly or not. Though we hope it wouldn’t.
It’s a big deal to have this movie in Hollywood. And I’m thankful for that. There is nothing like In The Heights that has been memorialized into cinema history. That should be celebrated. As big, however, is the missed opportunity to tell the story more truthfully. Again, I think Lin gets that. His humility and active listening is a hopeful sign for great future projects and advocacy of the stories some of us felt fell short here.
If anything I’ve gotten from the loving relationship in my life is that mature love leads with celebration while holding space for growth, transformation, correction.
In the Heights, Warner Brothers 2021
The Gift of Becoming Yourself
Yes, Hollywood is watching us have our disagreements, but I want to strongly encourage us to reframe the way we have these discussions. It’s important that we don’t frame those bringing critique as “hating” on the movie and damaging our perception to Hollywood. And on that note — big production companies, like Warner Bros., with their white dollars, are not the only way to have our stories told. The film-making industry is like any other industry, I imagine. There are enough creators, writers, producers, actors, directors, DP’s of color telling our stories without the help of big wig executives. I’m hopeful for the stories In The Heights will give birth to, but I’m wary of adjusting ourselves to mass appeal. I know it produces dollars, but it dwarfs our stories into something foreign. The road to getting Hollywood to see the value in our stories is long and arduous. Surely, there are other ways.
Perhaps the next best thing that we can do is more simple than we imagine: create. Tell your story. Tell your ancestor’s story. Tell your block’s story as you know it; as you experienced it. Tell it truthfully. Don’t be held hostage by mass appeal. It’s one of the pitfalls we’ve inherited from the social media age. If you drink from the cup of mass appeal you risk the integrity of your story because you decide that what others think is more valuable than the deepest truth of your experience.
There’s no question that this movie has poured gas onto the on-going conversation about Latinx identity. And for that I’m thankful. Our Latinx identity is nuanced and complex, with Afro-desendencia and Indigeno-descendencia. Learn your story. Climb your family tree. Saca tu abuela del closet. With all its twists, painful turns and pleasant surprises, there is no journey more important than the one where you become yourself, as you’ve been made. To share both that journey and what you discover is a gift to the world. To experience that in your art, your stories, your movies is to construct a bridge that allows me; that allows us, the opportunity to enter your story. The only catch is that it must be done truthfully. No hiding the mess. Not forgetting a chapter. And not making anyone invisible.
Living in my memories
My teen years were all about basketball at Dyckman park, bread runs to Kenny’s bakery, and parties at Incarnation Catholic School’s gym on 175th and St. Nicholas. For over a decade I lived in Dyckman with my wife and two kids as a faith and community leader. In 2017 I debuted my memoir about what it meant for me to love this place that had changed so much over the years. I’ve had a number of non-native New York friends message me after watching the film: “Wow, I feel like I understand your story more” or some version of that sentiment. If I’m honest, these reflections are in large part to ensure that those unfamiliar with the place that shaped so much of me wouldn’t conclude that this film captured all what that place is.
If your conscience makes room for it, go buy a ticket. Watch this movie. Take with you what you can from this story. And trust me, you can. There’s plenty there for you. There’s plenty there for us. Beauty does not evade this movie. El fuego Caribeño wasn’t a stranger. To see the hydrants open, the streets flooded with kids, and the struggle to find our place in society — that was still especially beautiful and compelling.
About Rich Perez
Rich is the author of Mi Casa Uptown: Learning to Love Again, a memoir of his experiences growing up in the inner city of Nueva York and the intersection of faith, family, identity and the significance of place. Founder and pastor of 10 years at Christ Crucified Fellowship in NYC before transitioning to Atlanta, GA with his wife, Anna, and their kids, Josiah and Hayden.
