Diagonaldi Very well executed

Solemplex To me, this movie is perfection.

Lucybespro It is a performances centric movie

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

higherall7 The theme of 'forbidden love' is a fascinating one, and will be with us for all time. But the truth is, I felt very little chemistry between Flipper and Angie! Times have changed, thank god, and people are a little more relaxed about relationships between races of all kinds, but when it comes to interracial love relationships there are still certain things that I find arresting and certain things that fail to capture my interest. JUNGLE FEVER is about many things except what the title implies. This is okay, and a few other themes in the film are well explored. Everything except the core concept which gives a title to this film.After all, what is JUNGLE FEVER? What generates or causes it to come about? Is it Eldridge Cleaver's concept of the Super Masculine and Super Feminine? A woman of high social standing granting sexual favor to a man of low social standing because of sexual attraction between them? Or perhaps it's the exact opposite? When you have JUNGLE FEVER what are the signs and symptoms? What should you look out for and what should you avoid? Is it something you are bound to catch no matter how much you strive to resist it? Can you somehow guard against it? How do you catch it and what is the antidote for it? Before the turn of the 21st Century, people did not particularly look to have love relationships outside their race. The passion usually had to be great enough to compel one to cross the color line. For every man or woman there were perhaps a handful of people they would be willing to cross the color line for at the risk of social condemnation. But it was usually understood beforehand that this was a minority or nonconformist choice.Now when it comes to interracial relationships in films there are two things that I find appealing. The first is does the couple in question look physically compatible? Do they look like they belong together despite the physical difference of color? The second is whether or not you can sense magnetism between the couple in question or what people call these days 'chemistry'. Can you sense now or developing within the narrative a sense of 'bonding'? There was much ado about Denzel Washington playing Malcolm X and having his little interracial affair with Kate Vernon playing a blond white woman named Sophia. But when they sat together and spoke no lines you sensed a physical parity between the couple. They were both very good looking people of somewhat similar features and you could reasonably and easily see how they might come together on the basis of physical attraction or magnetism. Later on, in scenes with Angela Bassett playing Betty Shabazz, you also felt physical and emotional parity between Malcolm X and his wife.Between Wesley Snipes playing Flipper and Annabella Sciorra playing Angie I didn't sense any particular physical or emotional parity or when they were in the same space did it feel like they 'belonged' together. Nor did it seem to me either of them was resisting or fighting against catching the 'fever', before finally succumbing to it. It just seemed like Flipper and Angie got to know each other and decided to have casual sex. This is not particularly flattering, but it is as though Angie could have been anybody.Sidney Poitier was in two films where physical parity and emotional parity were either present or in the process of developing. In A PATCH OF BLUE there was some physical parity between the female lead and Sidney and you got the feeling you would not mind seeing them together. There was a certain dignity to them being together despite any social or cultural objections that could be raised or voiced. This was also true in GUESS WHO'S COMING TO DINNER where there was less physical parity, but you felt there was some kind of emotional bond already established between the man and the woman that would brook no interference and could not be revoked simply to meet the approval of others.Most films about interracial relationships swing between the extremes of being too staid or verge upon the pornographic. Both forms have their particular beauty to them. JUNGLE FEVER has a little of both approaches, but is actually more about the reactions of family and friends to this 'odd couple' rather than the intensity of emotions that have somehow bonded them together.

asweetmargarita The old story of married man meets single woman at work, the two are attracted to each other and become involved in an affair. But the twist on this "typical tale" that gives it the timeless relevance is the couple is interracial. Not only are they interracial, they are from very different backgrounds and very different needs which compound the relationship they have fallen into. Talk about "It's Complicated"!Then Spike Lee lets the story take place in a very racially divided area of a hugely ethnically diverse internationally known city. Weaving into this story addiction issues that pit families against one another and cause communities to crumble. Watching this movie one can easily get caught up in the race against race issue and this be the take away. Yet for me the take away was how does one handle relationships once you peel back the taboo of interracial dating. Two people have a decision to make that is not about skin color. It is the classic story of how does one take responsibility for allowing a spur of the moment impulse to get out of control.

Michael Neumann Spike Lee has a habit in his films of biting off more issues than he can chew, and his 1991 "joint" is no exception, providing enough racial, sexual, and social conflicts to fuel any three features. The opening plot hook is an illicit affair between happily married Harlem architect Flipper Purify (not a misprint) and his Italian-American secretary, but other, more urgent problems quickly crowd out the provocative love story, notably an anti-drug subplot involving Flipper's junkie brother (highlighted in the stunning Taj Mahal crack house sequence, easily the most exciting several minutes so far in Spike Lee's filmography). Elsewhere the film lives up to its title, exhibiting the director's weakness for Scorsese-inspired stylistic hyperbole: jazzy camera moves; an incessant music score (obscuring several lines of dialogue); and more than one scene of domestic violence rivaling Oliver Stone for histrionic overkill. If nothing else, this is one filmmaker who certainly knows how to grab and hold a viewer's attention.

blandie-1 I'm not sure why Spike Lee made this train wreck of a movie and conned poor Stevie Wonder into eternally pairing his beautiful music with this theatrical mess. I also resent the way he uses profanity as a part of the normal prose of professional Blacks. The abuse of his hold on ethnic movie goers is a shame. Scenes which seem to be contrived out the blue and have nothing to do with the theme or sub themes, play as if some college kid wrote this. I especially detest the ludicrous scene where the two leads are playfully sparring for no reason at all and the cops come and rough up Snipes. The overacting of the leads makes one feel as if Spike has no respect for his viewers or he has no clue what a movie is all about. The final scene appears to be thrown in to justify the use of a sledge hammer to tack a point in. This movie also supports the myth that all people of culture use the F-word in casual conversation. I am hoping he will realize that the rest of his movies are in the same pool as this one where he is not growing as a film maker. I think his union with Scorcesee in Clockers was a wise move. He should stick to making documentaries like the Four Little Colored Girls. Shock movies do not an Oscar make.