Not all adaptations are necessarily a good idea. Whether it be TV shows, comic books or, in the case of \Diary of a Mad Black Woman,"" theater productions, some concepts just do not play on the movie screen nearly as well as they do in their original medium. Tyler Perry's original play was quite successful, but the film version is a complete mess-and by the looks of things, the blame can be primarily laid on Perry's shoulders.
The film revolves around Helen McCarter (Kimberly Elise). Beautiful, wealthy and living in a mansion with her husband Charles (Steve Harris)-life seems pretty good for Helen. That is, until Charles literally tosses her to the curb to move in his mistress and the two children he's already fathered with her. In the process of moving to her grandmother's house, Helen meets U-Haul driver Orlando (Shemar Moore), an obvious alternate love interest from the moment he appears on screen.
Enter Grandma Madea (played by Perry in drag). Madea is practically a stock character out of a comedy skit-she's big, she's spitting profanity, she's packing heat. She takes Helen into her home, and provides what could be considered emotional support. She gets a job as a waitress, and just when you think this might be a film about Helen putting together a new life, the plot jerks in another direction, offering a chance at revenge on her suddenly wheelchair-bound husband.
""Diary"" lays on some pretty thick Christian messages, pushing forgiveness and redemption. That would be perfectly fine-if it fit with the overall tone of the film. But there are too many cruel and profane jokes throughout to support this righteous message. Besides, the screenplay makes it difficult to believe in the redemption of most of the characters; they aren't particularly likeable or sympathetic except by comparison to one another (Charles makes everyone look good).
Grandma Madea's ludicrous influence prevents the film's conflicts from falling into melodrama, but that doesn't mean the character's portrayal is a good idea. Bouncing between slapstick ridiculousness and silly melodrama does not balance the film out.
It's too bad that Perry's screenplay and performances (he also plays Uncle Joe and Joe's son Brian) go unchecked. Elise really does an amazing job dramatically. Her opening scenes with Steve Harris are excellent, but the fallout really allows her to shine. Cicely Tyson turns in a fine performance as Aunt Myrtle, a far more realistic and likeable character than Madea. Despite coming off a bit clich??d, there's an amazing gospel choir performance toward the end.
Ultimately, those positives fall far short of making up for the film's shortcomings. It's as though Perry had two films in mind, and director Darren Grant couldn't bring himself to force the actor/screenwriter/playwright into choosing a tone and sticking with it.
