Sean Baker’s 2008 independent drama Prince of Broadway opens with West African immigrant Lucky (Prince Adu) thriving in his element, using his charisma and humor to draw passersby into the small shop where he sells knockoff purses and sneakers. All the while, Baker’s camera pursues Lucky with the same reckless zeal that fuels his daily hustle on the streets. It’s a chaotic dance between director and performer set to the hectic pulse of Manhattan’s wholesale district in the late aughts.
Baker based the character of Lucky on Adu himself, who went so far as to scout locations and find actors for the production. And among those he found was Aidan Noesi, who plays the toddler who Lucky is forced to take care of after his ex, Linda (Kat Sanchez), tells him that he’s the father before then running off, promising to return in a couple of weeks. It’s tragic to see the little guy thrust from a woman tired of raising him to a man who’s completely unequipped to care for him, but Prince of Broadway’s pathos is always tinged with a lightly comic touch, ensuring that the film never falls victim to sentimentality.
Throughout, Adu’s naturalistic, beautifully modulated performance keeps Prince of Broadway firmly grounded as Lucky pendulum swings from the anger and frustration that he often directs at his helpless son and a sweet, albeit bumbling, affection toward the kid. From Lucky’s constant inability to even hold his son properly to naming him after his late father’s dog, the film consistently highlights the extent to which Lucky’s new reality is alien to him.
At one point in the film, while fighting with Linda’s new boyfriend, Hector (Edward “Punky” Pagan), Lucky allows the toddler to wander alone on the busy sidewalk. Elsewhere, he leaves him unattended at a restaurant for several minutes after the man walks out of the establishment in frustration. Lucky taking Prince along with him to work is, of course, another perilous act but one mired in the dire economic realities of men like him. In fact, when Baker asked Adu if he’d seen hustlers working with an infant in tow, the actor told him he saw it all the time.
When Prince of Broadway is focused on Lucky, it’s funny, stressful, and chaotic. But a subplot following Lucky’s boss, Levon (Karren Karagulian), and his marital issues with his younger wife, Nadia (Victoria Tate), feels shoehorned into the film, undercutting its authenticity. Karagulian, who’s appeared in all of Baker’s films, is a magnetic screen presence, but while his character’s more economically secure life serves as a contrast to Lucky’s, his storyline pulls too much focus away from our protagonist’s turbulent, and far more engrossing, reality. Still, Prince of Broadway is, by and large, a vibrant, intimate, and richly detailed, moving beyond mere representation to unflinchingly depict the joys and tragedies of the community it depicts.
Image/Sound
Sourcing a new 4K restoration, Criterion’s transfer offers a plethora of rich details to soak in, in everything from the many close-ups of Lucky’s face to the exterior shots of New York’s colorful wholesale district. Given the DIY nature of the shoot, it’s unsurprising to encounter the occasional shot with blown-out whites. Otherwise, the image is crisp and clear, with no sign of ghosting during the more rapid and wild camera movements. The 5.1 audio shows off the surprisingly dense sound design, with the constant street noise and surrounding chatter nicely separated from the music and dialogue, which is more forward in the mix.
Extras
In the first of two commentaries recorded in 2011, Sean Baker discusses every step of the production, including his research process and how he was able to fund and shoot the film. His affection for the wholesale district and the people who work there is as unmistakable as is his love for the filmmaking process, making for a very engaging listen. The second commentary is by producer and co-writer Darren Dean, associate producer and actor Victoria Tate, and actor Karren Karagulian, all of whom share their experiences working on the film.
Elsewhere, we get archival interviews with Baker and Prince Adu, who talk about the research and location scouting processes, and two documentaries, one from 2011 in which members of the cast and crew look back on the production and one from last year that catches up with many of the same individuals. Rounding things out is a new introduction by Baker, a featurette on the restoration process, two trailers, and a booklet with an essay by critic Robert Daniels, who praises the film for its empathy, honesty, and cultural authenticity.
Overall
Courtesy of Criterion, Sean Baker’s early career breakthrough gets a beautiful new transfer and a hefty helping of extras that delve into the director’s filmmaking process.
Since 2001, we've brought you uncompromising, candid takes on the world of film, music, television, video games, theater, and more. Independently owned and operated publications like Slant have been hit hard in recent years, but we’re committed to keeping our content free and accessible—meaning no paywalls or fees.
If you like what we do, please consider subscribing to our Patreon or making a donation.
