Review: ‘The God Committee,’ starring Kelsey Grammer, Julia Stiles, Janeane Garofalo, Dan Hedaya and Colman Domingo

July 18, 2021

by Carla Hay

Kelsey Grammer and Colman Domingo in “The God Committee” (Photo by Matt Sakatani Roe/Vertical Entertainment)

“The God Committee”

Directed by Austin Stark

Culture Representation: Taking place in 2014 and 2021, mostly in New York City, the dramatic film “The God Committee” features a predominantly white cast of characters (with some African Americans and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: A hospital committee has a limited time to decide which patient will get a life-or-death heart transplant; years later, one of the committee members ends up being involved in a controversial heart transplant experiment. 

Culture Audience: “The God Committee” will appeal primarily to people who are interested in medical dramas about ethical dilemmas and won’t mind too much that there’s a far-fetched sci-fi aspect to the film.

Julia Stiles and Kelsey Grammer in “The God Committee” (Photo by Matt Sakatani Roe/Vertical Entertainment)

The medical drama “The God Committee” has enough gripping suspense that it didn’t need a futuristic subplot about experiments to use pig hearts in heart transplants for humans. Although this type of medical advancement could happen in an unknown future, it’s a part of the movie that’s an unnecessary distraction from the real story: the debates and dealings that go on behind the scenes when medical committees decide which people deserve organ transplants the most.

Austin Stark directed and wrote the screenplay for “The God Committee,” which is based on Mark. St. Germain’s play of the same name. Stark does an admirable job of making this story as cinematic as possible, with numerous realistic set pieces and compelling cinematography by Matt Sakatani Roe. There’s nothing in this movie that looks like a theater stage at all.

“The God Committee,” which is set mostly in New York City, jumps back and forth in time between two years: 2014 and 2021. The movie opens in Buffalo, New York, in 2014, when 18-year-old Eli Gurny (played by Daniel Taveras) is shown being accidentally hit and killed by a car while riding his bicycle on the street. He was a healthy organ donor, and his heart has been made available in November 2014 to an unnamed hospital in New York City.

Dr. Andre Boxer (played by Kelsey Grammer), an influential and arrogant surgeon at the hospital, has been told that one of his patients has priority to get the heart. The patient’s name is Selena Vazquez (played by Patricia Mauceri), a widowed grandmother who desperately needs a heart transplant to stay alive. She’s already been told that she’s getting this new heart, so she’s relieved and elated.

However, Dr. Boxer has other plans for that heart, and he shares this information with his much-younger secret lover, another doctor who works at the same hospital. Her name is Dr. Jordan Taylor (played by Julia Stiles), who hasn’t been working at the hospital for very long. Dr. Taylor and Dr. Boxer, who are both unmarried, have agreed to keep their fling a secret because they don’t want it to taint their professional reputations.

The morning after Dr. Boxer and Dr. Taylor have spent the night together at his place, Dr. Boxer tells her that he’s not going to let his patient Selena Vazquez have the young, healthy donor heart that she was promised, because Dr. Boxer thinks that Selena is too old to deserve this heart. Dr. Taylor reacts with dismay and disgust, but Dr. Boxer has already made up his mind. It’s the first sign that Dr. Boxer has a “god complex,” where he knows that he has considerable power to make life-or-death decisions.

Dr. Taylor isn’t just disappointed with Dr. Boxer for this decision. She also seems to want more from the relationship than he’s willing to give her: possibly some real love or at least enough respect to act like he’s not embarrassed to be seen with her in public. When Dr. Boxer drives himself and Dr. Taylor to the hospital, he makes sure to drop off Dr. Taylor far enough away from the hospital entrance, to minimize the chance that any co-workers will see that Dr. Boxer and Dr. Taylor took the same car to work. She reacts by saying in an exasperated tone about their secret relationship: “Boxer, the only person I’m silently judging on in this—whatever this is—is myself.”

Now that Dr. Boxer has made up his mind that his patient Selena Vazquez won’t get the heart, who will get this organ transplant? Most of the movie is a riveting debate among the five people on the hospital’s organ transplant committee who will vote to make the decision. Dr. Taylor is the committtee’s newest member, who will be replacing Dr. Boxer on the committee, much to Dr. Boxer’s annoyance. He’s being replaced because he had already announced his resignation from the hospital to join the private sector.

Dr. Boxer had no say in who would replace him on the hospital’s organ transplant committee. He doesn’t hesitate to let Dr. Taylor and other colleagues know that he doesn’t think Dr. Taylor is a good choice to replace him on the committee because he doesn’t think she has enough experience as a doctor to make organ transplant decisions. Needless to say, it’s very easy to see that the fling between Dr. Taylor and Dr. Boxer isn’t going to last much longer.

Dr. Boxer won’t have long to complain about Dr. Taylor replacing him on the committee, because he will be leaving the hospital in December 2014, just one month after the committee makes the decision about who will get Eli Gurny’s donated heart. In the movie’s scenes that take place in 2021, viewers see what Dr. Boxer was doing for work after leaving the employment of the hospital: He became the lead scientist for an experiment called X-Origins, which would allow organs from different species to be transplanted into each other.

Back in November 2014, the issue of who will get Eli Gurny’s donated heart will be decided in a matter of a few hours. The five people on the organ transplant committee are:

  • Dr. Boxer, who is stubborn and the most hardline about making decisions based on science, statistics and logic, not sentiment or emotions.
  • Dr. Taylor, who is compassionate and open to take other factors into consideration besides science, statistics and logic. She also thinks ethics are essential in making her decision.
  • Dr. Valerie Gilroy (played by Janeane Garofalo), a tough-talking bureaucrat, who is well-aware of the financial problems that the hospital is facing. She’s also feeling pressure because a national medical publication recently downgraded the hospital’s rating, and she wants to bring the rating back up.
  • Nurse Wilkes (played by Patricia R. Floyd), a somewhat gossipy and very outspoken person, who is most likely to know a patient’s day-to-day actions in the hospital and the most likely to let a patient’s personality be a factor in her decision.
  • Dr. Lau (played by Peter Kim), a psychiatrist who is very analytical and is the least-talkative committee member.

A sixth member is normally part of the committee, but that person is unvailable. However, a sixth person will be sitting in, but not voting, on this committee’s deliberation over who will get Eli Gurny’s donated heart. This sixth person is Father Charlie Dunbar (played by Colman Domingo), who has been a priest for only three years. Before becoming a priest, Father Dunbar was a defense attorney for 15 years, and he was married.

Father Dunbar’s purpose for sitting in on this meeting is to provide any advice or opinions if anyone on the committee is struggling with moral or ethical issues in making their decision. He’s there because the hospital’s board of directors felt it was necessary that morality and ethics should not be overlooked when making these life-or-death decisions, in case any outside people question the committee’s decisions. Father Dunbar is available to counsel the committee members as a group and on an individual basis.

Dr. Boxer strongly believes that religion or spirituality should play no role in the committee’s medical decisions, so he thinks that Father Dunbar has no business sitting in on any of the committee’s meetings. There’s nothing Dr. Boxer can do about it though except try to ignore what Father Dunbar has to say. Dr. Boxer and Father Dunbar predictably clash during this committee deliberation.

Later, it’s revealed that Father Dunbar left the legal profession under a cloud of suspicion and scandal before he became a priest: He was disbarred in 2006 for doing something illegal that isn’t fully explained in the movie. And he avoided prison by “finding God” and cutting a deal with the district attorney. You can bet that this scandal will be brought up when the inevitable arguments happen during these committee meetings.

There are three patients at the hospital who’ve been moved to the top priority list to get the next available heart transplant. The problem is that due to a shortage of available hearts, only one can get an immediate transplant, and that person will get Eli Gurny’s heart. The other two patients will have to wait for a heart transplant for an undetermined period of time.

The three patients whose future health will be decided by this committee are:

  • Trip Granger (played by Maurizio Di Meo), a 30-year-old scion who hasn’t done much with his life but party a lot and live off of his rich father’s money. Trip is a recovering drug addict who has recently been admitted to the hospital after having a heart attack. If the toxicology reports find that his heart attack was drug-related, he will be ineligible for the heart transplant, because he’s been hospitalized before for overdosing on cocaine.
  • Walter Curtis (played by Kyle Moore), a 48-year-old married father who has a steady job, which he needs to help support his family. Those factors are to his advantage in getting the committee members to vote for him. However, what works against Walter is that he’s overweight and bipolar, which are two factors that make some of the committee members think he won’t be a good risk for the heart transplant.
  • Janet Pike (played by Georgia Buchanan), a 59-year-old wealthy widow with no children and no living relatives. To her advantage, she doesn’t have any problems with her weight or mental health. But to her disadvantage, she doesn’t have a support system of family members; a younger candidate could be considered a better option; and she has expressed resistance/hesitation in the past about getting an organ transplant.

There are more than just statistics that factor into the decision making, so there are plenty of arguments and debates on the committee. Trip’s wealthy mogul father Emmett Granger (played by Dan Hedaya), who accompanied Trip when Trip was taken to the hospital’s emergency room, has met with Dr. Gilroy privately and made a very tempting offer: He’s told her that his non-profit Granger Foundation is willing to donate $25 million to the hospital if Trip gets the heart transplant.

It’s money that the hospital desperately needs for important equipment upgrades and other improvements. Dr. Gilroy is also eager to do anything she can to boost the hospital’s industry rating, which directly impacts her career at the hospital. But what Emmett is offering is essentially a bribe. And would Trip deserve to get the heart transplant, even if no money was being offered?

Certain members of the committee are leaning toward Walter getting the transplant because he has a family to support and he seems to be the most willing to get the transplant. However, other committee members express doubts about Walter because it’s revealed that Walter attempted suicide, before he was diagnosed with being bipolar. He has responded well to his bipolar medication since then, which some people on the committee think is encouraging, while others think Walter’s past suicide attempt should disqualify him, no matter what.

The main issues that certain people on the committee have with Janet are that she’s the oldest candidate, she has no family members, she’s ambivalent about getting an organ transplant, and one of the people on the committee describes Janet as a “bitch.” This derogatory name calling gets Dr. Boxer very irritated because he thinks that the committee’s decision should not be based on which patient has the nicest personality. Although she is wealthy, Janet has not hinted that she’s willing to bribe the hospital so that she can get the transplant, and it’s unlikely that she would ever make that unethical offer.

Trip has been unconscious since he was brought to the hospital, so no one in the hospital really knows what he has to say for himself about getting a heart transplant. But someone who knows Trip very well was hospitalized at the same time as Trip was: his girlfriend Holly Matson (played by Elizabeth Masucci), who has mysterious lacerations and bruises on her body. Because Holly is awake and able to talk, Dr. Taylor has an empathetic conversation with Holly to find out if Trip was using drugs before having his heart attack and to find out why Holly is physically injured. Holly seems terrified to say how she got her injuries, but she tells Dr. Taylor some important information that could affect how the committee members will vote.

The committee’s debate over who should get the heart transplant comes with some intriguing twists and turns. Many details, including Trip’s toxicology test results, are revealed that can sway people’s decisions. And each person on the committee brings personal agendas and biases. However, not much backstory is given on these characters because the movie’s main focus is on what these characters do in 2014 and 2021.

There’s an early scene in 2014, when Dr. Taylor is talking to a hospital colleague, who knows that Dr. Taylor’s mother is a well-known plastic surgeon. When the colleague asks Dr. Taylor why she didn’t become a plastic surgeon too, Dr. Taylor says she wanted to become an organ transplant surgeon because “I watched a friend from college die, waiting for a heart [transplant].” It’s implied that this tragic personal experience influences how Dr. Taylor thinks and acts on the committee.

What’s less interesting about “The God Committee” is the time spent in the 2021 scenes on Dr. Boxer’s lab experiments for X-Origins. It’s not spoiler information to say that one of the results of these experiments is that he discovers that a pig’s heart can be successfully transplanted into a human. Considering that this type of transplant is not medically possible in 2021, it gives “The God Committee” a science fiction tone that the movie doesn’t need.

There’s a lot more that’s revealed in the 2021 scenes about what happened to Dr. Boxer and Dr. Taylor since they stopped working together at the hospital. They are both still living in New York City in 2021, so there are scenes where they cross paths again. The decision that the committee made about which patient got Eli Gurny’s donated heart has ripple effects that have continued into 2021 and beyond. There’s a plot development in the 2021 part of the movie that’s a little bit like a soap opera, but it would be entirely plausible in real life.

If the “God Committee” had left out all the sci-fi medical experiments, it would have been a much better movie. It could easily stand on its own as an engaging medical drama, solely based on the dilemmas faced by the committee in deciding which patient should get Eli Gurny’s donated heart. Since it’s the main plot of the film and because all the principal cast members give very good performances, any other flaws of the movie are overshadowed by these assets.

No matter what scientific and technological advances there will be health care, “The God Committee” takes a fascinating and sometime disturbing look at the human foibles that are inevitable when human beings make medical decisions. Needless to say, socioeconomic factors are also directly related to what type of health care an individual receives. But the movie’s intention is to make people think more about which medical professionals get to make life-or-death decisions for organ transplants and how much power these people should really have.

Vertical Entertainment released “The God Committee” in select U.S. cinemas, digital and VOD on July 2, 2021.

Review: ‘The Forty-Year-Old Version,’ starring Radha Blank

January 20, 2021

by Carla Hay

Radha Blank in “The Forty-Year-Old Version” (Photo courtesy of Netflix)

“The Forty-Year-Old Version”

Directed by Radha Blank

Culture Representation: Taking place in New York City, the comedic film “The Forty-Year-Old Version” features a racially diverse cast (African American, white, Latino and Asian) representing the working-class, middle-class and wealthy.

Culture Clash: A struggling African American playwright decides to reinvent herself as a rapper a few months before her 40th birthday, and she has to come to terms with her definition of “success” versus “selling out,” as she deals with racism and sexism.

Culture Audience: “The Forty-Year-Old Version” will appeal primarily to people interested in stories of self-identity from an African American perspective.

Reed Birney and Radha Blank in “The Forty-Year-Old Version” (Photo courtesy of Netflix)

“The Forty-Year-Old Version” is a comedic film that skillfully shows a mid-life crisis that has never before been portrayed on screen: Just a few months before she turns 40 years old, a struggling New York City playwright, who’s looking for a new way to express her creativity, decides that she wants to become a rapper. It’s a career move that’s risky and outside her comfort zone not only because hip-hop isn’t generally welcoming of female rappers but it’s a music genre that also has incredibly difficult barriers for beginner rappers who are over the age of 30. Radha Blank makes a captivating feature-film debut as the star, writer, director and one of the producers of “The Forty-Year-Old Version,” a semi-autobiographical movie that strikes the right balance of showing uncomfortable truths with whimsically raw comedy.

“The Forty-Year-Old Version” is entirely in black and white, which gives the movie a somewhat timeless look. This creative choice might also draw comparisons to filmmaker Spike Lee’s 1986 feature-film debut “She’s Gotta Have It,” which was also entirely in black and white. Both movies are comedies with an independent-minded woman as the main character. And although the overall tone is comedic, both movies also have underlying serious social commentary about how relationships are affected by gender roles and race.

In “The Forty-Year-Old Version,” Blank portrays a playwright named Radha, who is about to turn 40 in a few months, and she feels like her life is imploding. She’s grieving over the death of her beloved widowed mother. Radha is also having financial problems and is trying not to get depressed that she hasn’t lived up to her expected potential.

Years ago, Radha received a “30 Under 30” prize by an influential theater organization, to signify that she was considered a promising playwright under the age of 30. And now, all these years later, Radha can’t even get a workshop of her latest play. To pay her bills, Radha teaches an after-school class on dramatic writing at a local high school. But even in that job, she’s not appreciated, because some of the teenage students in her small class (which has eight students) don’t really want to be in her class and show little to no interest in theater.

Radha’s latest play that she’s hoping to get produced is called “Harlem Ave,” which is set in New York City’s predominantly black neighborhood of Harlem. She describes the play as being about “a young man who inherited a grocery store from his parents and struggles to keep the business afloat with an activist wife.” Radha wants the play to be reflective of the real Harlem, by having a predominantly black cast.

In the hopes of getting “Harlem Ave” in regional theater, Radha meets with a pretentious acquaintance named Forrest Umoja Petry (played by Andre Ward), who owns the local OUmoja Theatre, an off-Broadway venue whose specialty is African American stage productions. Forrest, who founded the theater in 1988, doesn’t really take Radha that seriously. Instead of discussing the play with Radha, he makes her meditate with him in his office that he likes to fill with burning incense.

Radha’s best friend Archie (played by Peter Kim), an openly gay Korean American, is an aspiring theater producer. It’s later revealed in the movie that Radha and Archie have been best friends since high school. They were each other’s prom dates back then, when Archie was still closeted to most people and afraid to tell his family about his sexuality. Archie is staunchly loyal to Radha, but he disagrees with her “I’ll never sell out” mindset when it comes to getting her plays financed. Radha wants to be a success, but only on her terms.

Archie excitedly tells Radha that he’s scored an invitation to a black-tie party that will be attended by a powerful, Tony-winning producer named J. Whitman (played by Reed Birney), who could be a likely investor in “Harlem Ave.” Archie wants Radha to be his “plus one” at the party, which Archie thinks will be the perfect opportunity for Radha to pitch her play to Whitman. Radha is very reluctant to go to this party and tells Archie: “J. Whitman only does black ‘poverty porn’ plays. I’d rather do a workshop with Forrest and his stinky-ass ancestors than suck up to J. Whitman!”

But after some pleading from Archie, Radha eventually agrees to go to the party. The soiree is upscale and filled with a lot of well-to-do “theater patron” types, who are usually over the age of 60. It’s the type of party where Archie and Radha stand out because they’re relatively young by comparison, and they’re two of the few non-white people at the party.

Sure enough, Radha gets a chance to talk to Whitman, so she tells him about “Harlem Ave.” Whitman says he would be interested in investing, but he thinks the play should be about “gentrification.” It’s really code for saying, “There needs to be white people as main characters in the play, in order to sell it to a predominantly white audience.”

Radha thinks it’s demeaning for Whitman to suggest that she change her play in this way, but she doesn’t say it out loud to Whitman. Instead, she politely tells him that she doesn’t want to change to focus of her play. She’s ready to end the conversation, but a tone-deaf Whitman adds insult to injury and tells Radha: “I still need a writer for my Harriet Tubman musical.”

This racial condescension enrages Radha, who then lunges at Whitman and begins strangling him. It’s played for laughs in the movie, but the scene demonstrates how infuriating people like Whitman can be, because they think of themselves as “open-minded liberals” but they believe in the same racist stereotypes as close-minded conservatives. Radha is unapologetic for her outburst, but Archie is horrified. Archie tells Radha that he wants to smooth things over with Whitman, but Radha tells Archie not to bother.

Publicly, Radha is defiant. Privately, she’s wracked with self-doubt. In her small and dumpy apartment where she lives alone, she cries in despair and wails: “I just want to be an artist! Mommy, tell me what to do!”

Just then, Radha hears rap music playing nearby. She has a silent “a-ha” moment and suddenly feels inspired to write rap lyrics. The next day, Radha tells Archie that she’s going to try something new with her life: She wants to make a rap mixtape and see where it’ll take her in a possible career as a rapper.

Archie is incredulous and thinks Radha shouldn’t give up her career in theater. But Radha has already made up her mind. Whitman has decided to forgive Radha for physically attacking him, but he tells Archie that he should be a theater producer and that Archie shouldn’t be wasting his time with Radha, whom Whitman calls a “washed-up writer.”

Radha hears about a home recording studio in Brooklyn that works with aspiring rappers, so she goes there to see if she can find a producer who can make the music for her lyrics. When she goes to the cramped, smoke-filled apartment, she’s the only female in a roomful of guys in their 20s. A sullen-looking 26-year-old, who goes by the name D (played by Oswin Benjamin), is the producer/engineer operating the recording equipment. He barely acknowledges Radha in this first meeting.

The entire meeting is awkward because it’s obvious that these guys don’t take Radha seriously. When one of them asks Radha what her rap name is, she’s taken aback and makes up a name on the spot: RadhaMUSPrime. It’s a play on words of the “Transformers” robot hero character Optimus Prime.

Radha has the money to pay for a recording session. D seems reluctant to work with her though, because it’s obvious that he thinks she’s a joke. That is, until Radha starts rapping her song “Poverty Porn,” a scathing rebuke of greedy people who make money in entertainment by exploiting African American poverty. When D sees her perform and hears the lyrics, he shows signs of being impressed with Radha’s talent.

“Poverty Porn” is told from the point of view of the exploiter who would rather make entertainment showing African Americans as poor and down-trodden instead of showing the reality that most African Americans are not poor but are middle-class. The lyrics of the chorus include: “You regular blacks are just such a yawn. Yo, if I want to get on, better make me some poverty porn.”

Radha’s experience with Whitman is the obvious inspiration for “Poverty Porn,” but the lyrics suggest that Radha has had a lifetime of these racist experiences in trying to be a successful playwright. Later in the story, Whitman lets it be known that he still wants to be the lead producer of “Harlem Ave,” but only if Radha makes the changes that he wants. The offer comes when Radha is at a low point in her confidence and financial stability, so she has to make a choice on whether or not she will “sell out” and do the play with Whitman in charge.

“The Forty-Year-Old Version” also has a subplot about two of Radha’s students who clash with each other almost every time that they’re in class together: a tough-talking butch lesbian named Rosa (played by Haskiri Velazquez) and a foul-mouthed diva named Elaine (played by Imani Lewis), who is sought-after by many of the boys in the school. Rosa has a crush on Radha and doesn’t try to hide it. For example, Rosa makes gushing comments about Radha such as, “She’s like Queen Latifah and Judge Judy rolled into one!”

Meanwhile, Elaine is often disrespectful to Radha and acts like being in Radha’s class is a waste of time. One day, Elaine insults Radha by calling her a failed playwright. Rosa jumps to Radha’s defense and gets in a brawl with Elaine. Rosa and Elaine are both punished by the school, but the two teens still act like enemies when they’re together in the classroom. Much later, Radha sees something in the school hallway which explains why Elaine is acting the way that she does.

As Radha spends more time with D to write and record her rap songs, she and D become closer, even though their personalities are almost polar opposites. Radha is talkative and high-strung. D is quiet and laid-back. There’s also their age difference and the fact that they have very different social circles.

Even though Radha is trying to be a rapper, she comes from the intellectual theater world, while D has more of a “street life” background. Both Radha and D have a strong sense of identity as African Americans, but their respective upbringings and educations have taken them on different paths. Their relationship is a situation where hip-hop really did bring them together.

Much of the absurdist comic relief in the story comes from recurring appearances of neighbors as a sort of “Greek chorus” who make funny and sometimes rude remarks separately to the camera, as if they’re speaking to or about Radha. These outspoken neighbors are an elderly African American woman (played by Jackie Adam), who’s called Snazzy in the film’s credits; a young Dominican woman (played by Cristina Gonzalez); an elderly Korean vendor (played Charles Ryu); and two of Radha’s students named Waldo (played by Antonio Ortiz) and Kamal (played by T.J. Atoms). When they’re asked what they think of Radha turning 40, the young woman replies, “When a single woman turns 40, she’s like fruit in the ground for the bugs to eat.”

There’s also a scene-stealing homeless man named Lamont (played by Jacob Ming-Trent), who hangs out near Radha’s apartment building and lets her know that he watches all the comings and goings that happen to and from her home. During a pivotal conversation that Radha has on the street when she asks someone for help with her career, Lamont who’s watching nearby shouts: “Give the bitch a chance! Her desperation is making me nauseous! Although technically, you’ve got to eat something to throw up.”

Because “The Forty-Year-Old Version” is a low-budget film, it’s fairly obvious that many of the cast members are not professional actors. Some of the cast members deliver their lines better than those whose acting is a little rough around the edges. But that’s part of the movie’s charm, since it looks like many of the people in the movie are really playing versions of themselves and aren’t doing a slick acting job. Of the main cast members, Blank and Kim fare the best in scenes that show the genuine and sometimes volatile friendship between Radha and Archie.

One of the best things about “The Forty-Year-Old” version is how it authentically reveals layers to the story without making it too cluttered. Viewers will get poignant glimpses into Radha’s family life and how her mother’s death affected her. Radha’s brother Ravi (played by Blank’s real-life brother Ravi Blank) wants her to help him decide what to do with their mother’s possessions, but Radha has been avoiding his phone calls. When the siblings eventually meet up, they have a heart-to-heart conversation that’s a standout scene in the movie.

It’s revealed in the story that Radha and Ravi’s parents were both artists but had to take day jobs to support the family. The siblings’ mother was a painter who worked as a teacher, while their father was a jazz drummer who worked as a plumber. Radha is single with no children, so she doesn’t have the family financial obligations that her parents had. However, “The Forty-Year-Old Version” shows that one of her underlying fears is not being able to fulfill her dream of becoming a professional and respected artist.

At an age when most people are settled down and secure in their careers, Radha is restless and insecure in her chosen profession. What makes this story stand out is how she takes a bold risk to “blow it all up” to start over in hip-hop, which is a male-dominated and often-misogynistic industry. It’s a risk that most women in the same circumstances would never take. But “The Forty-Year-Old Version” accurately shows what happens when artists follow their instincts, despite any massive obstacles and naysayers in their way.

Thanks to her tour-de-force work in front of and behind the camera, Blank makes “The Forty-Year-Old Version” a truly unique gem of a film that feels very personal yet relatable to anyone who knows what it’s like to be underestimated or discriminated against simply because of race, gender or other physical characteristics. There are plenty of examples of subtle and not-so-subtle discrimination in the film.

However, “The Forty-Year-Old Version” isn’t too heavy-handed about showing this bigotry, and Radha isn’t wallowing in a self-pity party. She just gets on with what she has to do. But there are also moments when Radha has to decide if she should listen to “rational” advice or follow what’s in her heart.

And any decision to go against the grain and listen to her inner voice requires her to be extremely vulnerable when it would be much easier to go along with what she’s pressured to do by other people. There’s a telling moment in the movie where Radha, who usually wears a head wrap that completely covers her hair, decides to take off this head wrap, and it’s symbolic of her shedding a self-protective shell and showing her true self.

“The Forty-Year-Old Version” is also an incisive commentary on artistic integrity and how it’s often at odds with financial offers that artists can get. At some point, artists who expect to be paid for their work must ask themselves: “Is this monetary offer in line with my values? If it isn’t, is it worth compromising my integrity for what I would be paid? And how much control of my work do I want to give to other people?”

The music of “The 40-Year-Old Version” is a mixture of mostly hip-hop and jazz, which perfectly exemplify the two artistic worlds that Radha inhabits in the story: the rough, street-oriented world of rap and the more refined, traditional world of theater. In addition to “Poverty Porn,” original songs with Blank’s lyrics include “This Is 40,” “F.Y.O.V.,” “Mamma May I,” “”Pound Da Poundcakes” and “WMWBWB,” which stands for “White Man With a Black Woman’s Butt,” a reference to a scene in a movie when Radha sees a white man with a very round and large bottom.

Other songs that are part of “The Forty-Year-Old Version” soundtrack include Queen Latifah’s “Wrath of My Madness,” Babs Bunny’s “I Want In,” Nai Br.XX’s “Adventure Time,” Quincy Jones’ “Love and Peace” and several tunes from jazz artist Courtney Bryan. Radha says in the movie that her song “F.Y.OV.” can stand for things other than “Forty-Year-Old Version,” such as “Find Your Own Voice,” “Find Your Own Vision” or “Fill Your Own Void.” They are all perfect descriptions of the movie’s overall impactful message.

Netflix premiered “The Forty-Year-Old Version” on October 9, 2020.