It's one thing to tell people about the wounds in the fabric of this country that the Civil Rights movement attempted to repair; it's another thing to show them. Unfortunately, too many films made about racism lose power on two grounds: a tendency to sermonize and an unwillingness to show the true ugliness of what went on. Neither of those faults plagues The Great Debaters, Denzel Washington's chronicle of the rise of a debating team from a small black Texas college during the 1930s.
By highlighting themes of individual achievement against a daunting backdrop, Washington provides heroes who can be admired regardless of their race, even though skin color is a huge part of the story. More significantly, he does not shy from showing the darkest aspects of human nature. A scene in The Great Debaters is designed to shock and horrify, and it succeeds in doing so. But it is in no way exploitative; it is necessary to the understanding of the characters and their motivations, and to coming to grips with elements of the social fabric that are too often softened for mass consumption. Washington makes it evident that racism can be more ghastly than calling someone degrading names.
The movie, which is based on a true story but does not trumpet that fact in an opening caption, takes place on the campus of Wiley College during 1935. Mel Tolson (Denzel Washington) is a social activist and English professor who forms a debate team. His initial goals are modest: face-off against other black colleges. But when the team goes on an undefeated run that includes beating one of the best black debating teams in the country, he sets his sights higher and challenges National Champion Harvard. If Harvard agrees to the contest, it will be the first time the debating team from a black college will face off against a National Champion.
Tolson's team is comprised of four very different individuals. Henry Lowe (Nate Parker) is s brash, outspoken young man whose years of reading have given him a wealth of knowledge about all topics. Samantha Brooke (the fiery Jurnee Smollett) is the only woman on the team - she believes the experience will serve her well as she struggles to become the third female black attorney in Texas. James Farmer Jr. (Denzel Whitaker) is a 14-year old prodigy whose strict work ethic is handed down from his father (Forrest Whitaker), a preacher and professor at Wiley. Finally, Hamilton Burgess (Jermaine Williams) is a conservative young man who shys away from controversy away from the debating stage. The movie mixes the interaction of these characters with each other and their families with their debating success and their struggles to gain a measure of fairness in a country where there is little.
The Great Debaters does an excellent job forming a bond between the characters and the audience. These are not perfect individuals; they are flawed, but that doesn't prevent audiences from admiring them, especially considering the adversity they must overcome. There are also no overarching villains (John Heard plays a racist sheriff but he's only in a few scenes). Instead, we see how the poisonous social climate of the south warps the perspectives and actions of people. James must watch his proud father shame himself in front of a white man to avoid being shot. The debaters, while on a road trip with Mr. Tolson, stumble into a lynching. The event is presented with sickening reality. The ways in which each of the characters react to this incident is very interesting.
The debating sequences are effectively presented. In keeping with Tolson's description of them as a "blood sport," they are impassioned and forceful with words being used as weapons. The debates touch on issues of race, civil rights, and civil disobedience. All four students are given opportunities to shine and each has at least one instance - either on stage or away from it - when their resolve cracks. Washington is content to simmer in the background. Fellow Oscar winner Forrest Whitaker also fills a secondary part. The Great Debaters is ultimately an uplifting movie because it is about triumph. But there are harrowing moments along the way. The journey is affecting and honest without feeling manipulative and the screenplay and direction are handled with care and sensitivity for the subject matter. This is one of the better movies in recent years to address issues of racial inequality and the way in which individuals overcome them.
A-
P.S. I Love You
P.S. I Love You is the most potent tear jerker since, well, I dont know. But I do know, and am slightly embarassed to admit, that I literally was on the brink of tears for this entire movie. There certainly hasn't been anything that makes you so happy to cry for a long time.
Right away they open with an adorable argument, where the couple tells us all their issues as they take jabs that would never come across as cute in a real fight. Still, you sense their passion, even with their fake closed mouth kisses. It gets right to the death with the funeral coming right away. Her mourning feels real and touching. A person who lost the love of their life would cling to whatever remaining tidbits of him existed. Her mourning does lead her to sing into a TV remote, which is a movie pet peeve of mine. Turning household objects into fake microphones, ugh.
Then the first of several letters arrives, all planned and prepared by Gerry before his death, each one comforting and encouraging her to let go, and start living her life. It's the same message from her mother (Kathy Bates) and friends (Lisa Kudrow, Gina Gershon), and even her mother's bartender, Daniel (Harry Connick jr). She can't quite let go, and she makes a trip to Ireland to visit Gerry's parents, where she meets the handsome William (Jeffrey Dean Morgan). But it seems that nothing and no-one can dispel her grief - she has to do it herself.
Even things that are totally obvious and cliche seem to work. Seeing Gerard Butler in scenes where she's just feeling his presence is a clear visual cue to easily make the audience feel his hotness instead of having to interpret it. When a crowded room clears out except for him, we know it's just her imagination but we get it. And this was probably one of the most affecting scenes in the film.
The wonderful ability to naturally give simultaneous laughter and tears is PS I Love You's greatest strength, as it takes us through a myriad of emotions. The screenplay flirts with the occasional overstatements of the 'lover as ghost' subgenre of romantic comedies, so we do get to see Butler after death - both as fantasy and in flashbacks. Some of the direction sails all too close to schmaltz, but it's so darned likeable and enjoyable, and the cast is so engaging we don't really care.
And like the untimely death of Holly's husband. Things dont necessarily turn out the way they are planned. The film avoids one final cliche by not getting Holly together with another man at the end. Her husband's final letter is telling her it's okay to fall in love again. Viewers assumed she'd end up with Harry Connick Jr's character, but the film ends with her realizing that she's not going to move on any time soon. We love that ending, because it's a sad reality check and not your typical Hollywood ending to a romantic comedy.
The novelty of the novel, that a dead man's pre-arranged love letters form a story structure, is well handled, although it gets a tad repetitious after a while, yet with an endearing, playful tone. It's a shamelessly escapist movie for romantic lovers and lonely hearts alike. Cynics beware.
B
No comments:
Post a Comment