Da Sweet Blood of Jesus

Spike Lee took a bunch of provocative ideas, put them in a blender, and poured out Da Sweet Blood of Jesus, an audacious but muddled character study that nevertheless proves the veteran filmmaker can never be easily dismissed.

It’s a remake of the obscure 1973 film Ganja and Hess that offers a bizarre probe of religion, art and sexuality through a story of vampirism and uncontrolled lust. Yet the meandering script and uneven performances make the film more noteworthy for its effort than its execution.

The plot follows Dr. Hess Green (Stephen Tyrone Williams), a Martha’s Vineyard homeowner whose acquisition of a rare African dagger from an art curator (Elvis Nolasco) has dire consequences when his friend is murdered and Hess develops an obsession with ingesting blood. While trying to cope with his affliction, and with his muted emotions masking an inner turmoil, Hess is visited by the dead man’s widow, Ganja (Zaraah Abrahams), leading to a romantic relationship that develops in strange ways.

There are several questions, of course. Why does he have these mysterious powers? How exactly did he acquire them? And does it even matter? The answers are mostly open to interpretation, if you care enough to contemplate them.

Besides being a rare foray into the horror genre, Lee explores some different themes and settings here, with characters that offer new perspectives on racial politics and socioeconomic class. Bruce Hornsby, a frequent Lee collaborator, contributes to the eclectic soundtrack with a jazzy piano score.

With its atmospheric approach and highly stylized visuals, the film can be unsettling with its nonchalant approach to brutal violence. Just as the lead actors have trouble establishing chemistry, the film as a whole never settles on a consistent tone.

Lee’s affection for the source material is obvious, although this feels as though he’s dabbling in another side project, as he frequently does. His sometimes exhilarating passion makes it easier to forgive the heavy-handed tendencies in his screenplay – which is often too cheesy and pretentious to be taken seriously, something the filmmaker acknowledges with tongue in cheek.

Still, this material isn’t as shocking or as groundbreaking as it would have been 40 years ago. For all of its high-minded esoteric conversation, Da Sweet Blood of Jesus ultimately doesn’t have much to say.

Rated R, 123 minutes.