Black Nativity

Holiday fellowship and joy is buried beneath a mountain of bitterness and dirty laundry in Black Nativity, a working-class musical inspired by the Langston Hughes play of the same name.

It’s a well-intentioned and sincere story of faith and forgiveness bolstered by an excellent cast, with an intimate approach that might have been a better fit on the small screen, especially with a title that’s a marketing nightmare.

In the film, Langston (Jacob Latimore) is a teenager caught in the middle of plenty of family strife. He lives with his single mother, Naima (Jennifer Hudson), who decides to send him to stay with his grandparents in Harlem while she faces eviction over the holidays.

His grandfather (Forest Whitaker) is a prominent minister whose stubborn and demanding nature stems in part from unresolved issues with Naima, which Langston blames on himself. His grandmother (Angela Bassett) is more kind and understanding, yet remains more focused on upholding an image within the neighborhood than confronting the issues that have torn their family apart. While seeking a resolution, Langston decides to take desperate measures as his grandfather prepares for his annual staging of “Black Nativity” at the church.

The screenplay by director Kasi Lemmons (Eve’s Bayou) is an ambitious coming-of-age story in which Langston learns cultural, historical and spiritual lessons while being overwhelmed with guilt and frustration. Yet his character is never given much depth beyond that of a passive observer.

Still, the film is a showcase for Latimore, a young recording artist who demonstrates talent both as an actor and a vocalist. The supporting cast is peppered with such singers as Tyrese Gibson, Nasir Jones and Mary J. Blige, who each offer an obligatory contribution to the soundtrack.

However, the musical numbers generally fail to distinguish themselves, despite incorporating a variety of musical styles such as gospel, hip-hop, soul and R&B. Perhaps the best of the songs is a collaborative rendition of “Silent Night” with lyrics that reflect contemporary socioeconomic struggles.

Lemmons fits the work of Hughes within the framework of a modern-day domestic melodrama. The result yields some scattered powerful moments, but this story of seasonal healing ultimately feels too predictable and heavy-handed to bring much uplifting Christmas cheer.

Rated PG, 93 minutes.