The Lights of Urban Blight

“Best to not underestimate Saint. The boy’s brain still eeworks. That's [a] problem enough.”—Manboy from Snowfall

In the show Snowfall (2017-), the main character Franklin Saint (Damson Idris) peddles his wares. Those wares happen to be kilograms of cocaine. During the mid 1980’s in Los Angeles, California, the increase of narcotics in ghetto areas was the metaphor for the show’s title. the white powdery substance was turned into crack for the first time, and created a different kind of snow-emergency.

To weather the storm, Saint must use his wits to the fullest. This is combined with the other pressures that weigh on his conscience. Like a chemist, a philosopher, and yes, a saint, he commands his cadre of dope pushers and companions.

How does all of this relate to a tale told nearly three decades ago, thousands of miles away? The film Fresh (1994) is an underappreciated gem written and directed by Boaz Yakin. It tells a similar story about an even younger man (about fourteen to Saint’s early twenties).

“Anything lost can be found again, except for time wasted.” —Sam from Fresh

Fresh, or Michael (Sean Nelson), plays out a chess-like game with the drug lords around his way. He spins yarns, speaks in elevated tones, and then whispers. All of this is just to outsmart the men who hold power in the streets.

He learns from his father (played by a stern and knowledgeable, if inebriated Samuel L. Jackson) to pace life just like the chess games they literally, frequently play throughout the film.

In Snowfall, it is all up to Saint to keep the ship from sinking while dealing with rival gangs, his mother and father, and the CIA. He handles all of these things deftly, with a grin and an occasional raised voice. This is Fresh 2.0 but ironically, (and anachronistically) Fresh takes place in 1990’s New York City. Even a youngish Giancarlo Esposito shows up years before he would star in another thinking man’s drug work, Breaking Bad (2008-2013) and its spinoff Better Call Saul (2015-2021). The conflict between him and Fresh is ultimately a delight to behold as the latter squares off with him like a knight claiming a rook.

Both Fresh and Saint have the brainpower to navigate through the harsh waters of inner city life. Saint pitches his bricks of the white stuff with ease, and accumulates large quantities of currency in the process. However, trouble is lurking in nearly every scene. Saint must contend with his own crew at times, not just his rivals. He has to constantly check them to ensure they are ready to do battle at any time.

Fresh is like that, too. His deliberate verbal accosting of his friend Chuckie keeps him in line like a drill instructor would a platoon of recruits. He knows he is dealing with adult matters, and sees some extremely unpleasant acts right before his eyes. Still, he takes a page from the Stoics, and remains mum when police and detectives start asking questions. It is a marvel to watch how he turns his quiet song into a blurt out performance somewhere near the end of the movie.

Saint sees a similar fortune. After being imprisoned, shot, and left for dead, he still struggles with an actual cane in hand.

Snowfall is in its fourth season, so it is obviously somewhat popular, whereas Fresh is a veritable unknown in the same space. Though Fresh’s stars, Esposito and Jackson, would burn brighter later on, their roles were etched forever in the minds of those who watched the flick. Lead actor, Nelson, delivers such an understated and captivating performance, it’s like watching a teen professor school the audience to the game of drug dealing.

“The more people there is, the lonelier it get.”—Fresh

Saint and Michael are the lights of urban blight. They represent both the hopefulness and hopelessness of the ‘hood, while also exhibiting wit, honor, humor, smarts, and understanding. Michael should be viewed in a film that weaves together excellent editing and great pace. Fresh is the movie to see for all of those Snowfall supporters.