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TYLER PERRY'S MEET THE BROWNS

About Tyler Perry And The Tyler Perry Franchise
The fifth and latest film in Lionsgate's Tyler Perry franchise, TYLER PERRY'S MEET THE BROWNS, translates one of Perry's most popular stage plays for the big screen. Set in Chicago and Georgia, it stars the gifted Angela Bassett as Brenda, a single mother raising three teenage boys on a meager salary. TYLER PERRY'S MEET THE BROWNS follows Brenda as she arrives at crossroads in her life, her strength tested by a series of setbacks and one very big surprise – the discovery of her Southern relatives, the Browns. 

In portraying Brenda and her three teenage sons, Perry continues the exploration of single-parent families he began with his third film, TYLER PERRY'S DADDY'S LITTLE GIRLS. As Brenda's children have been forsaken, in one way or another, by their fathers, so too was Brenda herself deserted by her father. Within that daunting cycle, however, TYLER PERRY'S MEET THE BROWNS finds room for hope. "With this film, I wanted to show how something very positive can come of a negative situation,” says Perry. "Brenda is attending the funeral of the father she never knew, a man who abandoned her and whom she has every right to be angry with. But in going to pay her respects, Brenda is introduced to an incredible family she never knew she had. Granted, the Browns are kind of crazy, but they're all about love.”

Outsize and outlandish, the Browns are among the best-loved characters from Perry's stage universe. Leroy Brown -- a chatterbox whose clothes speak even louder than he does – is second only to the divine Madea in terms of popularity. Thanks in part to Madea, Brown and their colorful cohorts, TYLER PERRY'S MEET THE BROWNS strikes the balance between antic humor and intense drama that distinguishes all of Perry's work. "I want my films to be relevant to people's lives, and give them hope,” Perry explains. "So it's important to deal with subjects like single parenthood and poverty, but at the same point the way forward through laughter, love and faith.”

Producer Reuben Cannon, who has partnered with Perry on all his films, believes that consistency of vision is one reason for his extraordinary success. 

"Tyler has established a kind of covenant with the audience,” says Cannon. "People know they're going to walk out of a Tyler Perry film feeling good, feeling hopeful. They know they're going to laugh a lot and probably cry, too. But within those parameters, there are many surprises in terms of plot twists, in terms of characters. It's been amazing to watch Tyler grow with every new movie.”

It has been slightly more than three years since Lionsgate released Perry's feature debut, DIARY OF A MAD BLACK WOMAN, on February 24, 2005. At the time, Perry was a superstar on America's urban theatre circuit, a playwright/director/actor/producer who had been performing 200-300 shows per year since 1998. His seven plays had grossed over $75 million and set box office records at major theaters in over a dozen cities, including New York's Beacon and Los Angeles' Kodak Theater. But Perry was largely unknown outside the African-American community, and it remained to be seen how his brand of storytelling -- a genre-defying blend of intense drama, raucous comedy, earnest spirituality and soaring gospel music -- would fare in movie theatres. The answer came quickly enough as DIARY OF A MAD BLACK WOMAN grabbed the #1 box office spot with $21.9 million in tickets. The powerful opening took industry observers by surprise but confirmed what Perry and Lionsgate suspected: African-American families and churchgoers who weren't frequent moviegoers would turn out for DIARY. And they weren't the only ones; the film soon crossed over to other ethnic groups on its way to earning box office receipts of more than $50 million.

The Tyler Perry juggernaut was underway. In three years, Perry has become a multimedia titan, his creative reach extending beyond film<

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