David Oyelowo captivates in Civil Rights drama
Fifty years ago this month in Selma, Alabama a movement was taking place. The movement was the attempt to secure voting rights for black minorities. Though persons of color were granted the right to vote with the passage of the fifteenth amendment in 1870, their voting rights would continue to be deprived thanks to the resistance from local election officials, who would use tactics to further prevent minorities from appearing on electoral rolls.
The movement that started in Selma, Alabama and would culminate months later in Washington, D.C. is one of the darkest periods of the Civil Rights movement. Events like “Bloody Sunday” (the first of three attempted marches from Selma to Montgomery, Alabama) and the murder of Malcolm X serve as evidence to the maliciousness and brutality of the tactical struggle between President Johnson and Martin Luther King Jr. and the best manner to push forward voting equality.
Ava DuVernay’s Selma doesn’t present a whole-encompassing biopic about the legendary King. Instead, it is a warts-and-all depiction about an important event in America’s history. The Martin Luther King Jr. presented is not always the esteemed reverend who knows exactly what to say. David Oyelowo’s fictional portrayal of man who had a dream gives us a man of foibles, striving to do what he believes is right while also wrestling with the politics to achieve his goals in a racially divided America.
The drama doesn’t whitewash or tone down the violence for the purpose of insuring a more audience friendly rating. To minimize the harshness that did actually occur would be an insult to those who witnessed it firsthand and for viewers with no history of said events. That is a complement to DuVernay’s vision; she pulls no punches with the violence and the language. Surprisingly, the MPAA awarded it a PG-13, its historical importance a weighty factor in considering the film’s rating most likely.
Oyelowo is a revelation as Martin Luther King Jr. The English-born actor carries the charisma of the civil rights leader and gives enough gravitas to the role to leave a lasting impression. Even without the consent to use the original speeches King gave during his time in Alabama, you would think Oyelowo’s mimicry of King’s oratories were the real thing. (Note: the alternate speeches were done because a competing studio holds the rights to the originals.)
Oyelowo is an actor of considerable talent who has been navigating up the call list for years, much like Anthony Mackie had until The Hurt Locker became his big break. Having worked with the likes of Christopher Nolan (Interstellar) and Steven Spielberg (Lincoln) in limited capacity, not to mention DuVernay’s Middle of Nowhere and last year’s The Butler, Oyelowo seems primed for the big stage. Selma is his ticket.
Well remembered for his powering voice, what is most captivating about DuVernay’s film are the intimate moments King has away from crowds of onlookers. It is here you see the Baptist minister battling with self-doubt about his call to action. More profound is the constant threats of death to King, his wife Coretta (Carmen Ejogo) and their two sons and daughters. King was fully aware of the risks he was taking but shortsighted himself when it came to his family.
This far into this critique of the 1965 period drama and I have avoided the elephant in the room. That elephant is the criticism that has been levied to DuVernay’s depiction of President Johnson and his lack of support for the Selma movement. Former personnel of Johnson’s administration calling sour grapes on account of cinematic authenticity need to only remember that this is a film, not a documentary. Tom Wilkinson’s performance as LBJ is another matter. I didn’t find much fault with his performance despite Wilkinson’s age and inability to always speak like a Texan, however as the key supporting performance in the drama it doesn’t always click. When he was known for being a pit bull in the oval office, sometimes he comes across as a hound dog.
The strengths of Selma are three-fold. The first is David Oyelowo’s masterful performance. The second is the attention to detail at recreating the Jim Crow South. The final fold is the depiction of infamous “Bloody Sunday” march from Selma to Montgomery, Alabama. This is a chilling sequence lensed exquisitely by Bradford Young, who most recently handled photography on J.C. Chandor’s A Most Violent Year, a period drama set in 1981 New York City.
If the film has any shortcomings they are of little consequence. The introduction of J. Edgar Hoover into the picture presents us with the occasional typing caption, as a supposed report by the FBI. These are a distraction, especially when it is fully acknowledged by King and his associates that their phones are likely bugged and that they are being watched. So this on-screen text seems unwarranted. Another shortcoming would be the use of women in the film. Carmen Ejogo is strong in her role as Coretta that it is unfortunate that she appears sparingly.
This is a story of tragedy and triumph, in which its themes continue to linger with every incident involving race and authority. Considering the shooting of Michael Brown in Ferguson, Missouri and the tensions between African-Americans and officers of the law, a film like Selma is a solemn reminder of how far we’ve come as a society but silently acknowledges that the job isn’t finished and may never be.
Director: Ava DuVernay
Writer: Paul Webb
Notable Cast: David Oyelowo, Tom Wilkinson, Carmen Ejogo, Tim Roth, Giovanni Ribisi, Oprah Winfrey, Common
