For years African American screenwriters were given too few opportunities to have their work realized in Hollywood. Many were discriminated against. Although some screenwriters of color found a job in productions of the so-called Blaxploitation films of the ‘70s, those films mostly exploited negative urban racial stereotypes. It wasn’t until the late 1980s when writers/directors like Spike Lee and John Singleton began receiving notice from the mainstream industry.

Since the 1990s, Walter Mosley has become a renowned novelist of crime novels, whose works became popular with readers and several screen adaptations. “Devil with a Blue Dress” (1990), with Denzel Washington portraying private investigator Ezekiel “Easy” Rawlins, became very popular and received high praise for its gritty noir realism.

This week’s hidden gem is the simply outstanding film “Always Outnumbered” (1998), directed by British filmmaker Michael Apted. Mosley adapted his novel “Always Outnumbered, Always Outgunned,” and the film featured Lawrence Fishburne as Socrates “Socco” Fortlow, a reformed ex-convict, who is trying to forget his violent past, find meaningful work and while trying to help guide an orphaned boy from repeating his past errors. Critical parts of the film are richly narrated by Bill Cobbs (a wonderful Chicago actor) who plays Socrates’ loyal friend named “Right” Blake.

Mosley’s story provides an honest portrayal of life in South Central Los Angeles with much of the same rich characterizations found in August Wilson’s outstanding plays about the black urban experience.

What makes this film so memorable is Fishburne’s incredible leading performance as Socrates. He manages multilayered characterization of a troubled man, who years before killed two people in a rage, one who was a woman he loved. While Fishburne shows a sensitive, caring side with his help to the troubled, young Darryl (Daniel Williams) and provides understanding guidance to a young neighborhood woman whose husband is neglectful to her and their two kids, he still can be as tough and menacing to all of the punks and street thugs he encounters. Furthermore, he’s quite charming to Iula Brown (Natalie Cole), a neighborhood woman who runs a small diner out of an old school bus. He has intense loyalty and tender compassion for his old buddy Blake, especially after learning Blake has cancer.

Socrates befriends Darryl one morning when he catches the young boy trying to steal, then kill a neighbor’s chicken. After talking rough and then feeding the hungry child, he learns the boy’s father died in prison, and several of the boy’s friends harassed and killed another boy named Felix, who was once their acquaintance. In near tears, Darryl describes how they buried the boy, and to this day, the boy is still considered missing. Darryl is genuinely sorry for his participation.

Socrates immediately understands and empathizes with the boy’s dilemma because he experiences frequent flashbacks of the woman he killed and harbors everlasting regret. He tells Darryl, “I know you’re sorry.  I know you get the nightmares. You’re gonna’ get them for a long time, little brother, a real long time.”

Later when Socrates anonymously phones the mother of young Felix telling of his death, he decides to train Darryl to stand up against the thug friends who killed the boy.

Screenwriter Mosley provides a mostly realistic, optimistic and complex narrative.  After Socrates is rejected by racist local grocery store managers, played by Steppenwolf Theatre veterans Laurie Metcalf and Alan Wilder, two store security guards later offer a lead for another job that will provide Socrates a much-needed paycheck and dignity. Socrates also organizes a local group of men to stand up to a local crackhead who has mugged and killed several people. And toward the end, Socrates arranges a foster care family for Darryl to live with.

Still another minor gem in this film is the small supporting role played by Cicely Tyson as Miss Luvia Prine, Blake’s protective partner and landlady. Initially, she can’t stand “Socco’s” rough looks and attitude, but she grows to appreciate the special connection Blake shares with him.

While the film ends on a bittersweet tone, “Always Outnumbered” leaves the viewer with a satisfying viewing experience and a much deeper appreciation of the incredible acting skills of Lawrence Fishburne.