Martin Luther King, Jr., is, obviously, one of the great figures in American history. His dignity and steadfast stewardship of the Civil Rights movement led to, in just over a decade, the complete demolition of the legal structures of American apartheid and the realization of much of the (on paper, at least) ambitions of the drafters of the 14th and 15th Amendments. Obviously, the battle for equal treatment under the law remains an ongoing one, but it goes without saying that MLK, Jr. was one of the truly inspiring and monumental figures of the last century. Dealing with such a giant of history in film or any work of art can be a tricky proposition, so bringing MLK and the Civil Rights movement to the screen is a decision fraught with risk. The wrong touch or wrong decisions could result in a disaster as likely to offend as to inspire.
Directed and written by relative newcomer Ava DuVernay and starring British actor David Oyelowo (who first caught my eye as the human villain in Rise of the Planet of the Apes), Selma makes the (in my estimation), wise decision to focus on one small period in MLK Jr's life. Rather than a sweeping biopic covering the entirety of his life, we focus on the push by King and the SCLC for voting rights in Selma, Alabama in 1965.
The Good: Oyelowo's performance is simply tremendous. It's hard to imagine anyone ever doing a better job of portraying MLK on film. His portrayal is touching, believable, powerful and rousing. Equal parts inspiring and believably human, the film paints King as a somewhat reluctant figure, run ragged by the what must have seemed endless struggle for dignity and equal treatment under the law he personified. The rest of the cast is mixed, but Tom Wilkinson, Carmen Ejowo (as LBJ and Coretta Scott King), Stephan James and Oprah were bright spots. James' depiction of John Lewis, a young SNCC volunteer, stood out among the crowded ensemble. I really liked the film's decision to focus on a particular struggle and a snapshot of a particular time, as it made the film's narrative concise and focused on the human beings involved. The tension and violence of the time is palpable, painting a picture of a time at once recognizable and yet incredibly foreign.
The Bad: at a certain point, someone involved in the production of this film made the decision that the systemic, violent apartheid racism of Governor Wallace's Alabama and the Jim Crow-era deep south wasn't enough of an obstacle for King and his movement to overcome, and that President Johnson needed to be brought into things as a cartoon villain as well. I find this unfortunate, because it's incredibly distracting, and I believe not at all true to history. This film paints LBJ as, at best, slightly hostile to the Civil Rights movement and at worst, openly opposed to King. I don't believe that's reflective of history, and I'm not sure why the film felt the need to escalate the momentousness of King's achievements. Additionally, there are parts of the film that feel cheaply done and like they'd be at home in a Lifetime "Movie of the Week".
In all, this is a powerful, well-made film with a brilliant performance and depiction of an all-time great American at its core. Its flaws hold it back from true greatness, but it's an inspiring story of one of the great figures and great triumphs of American history. High school students should be shown this film, and I'm sure they will be.
8/10.
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