And to be blunt, distorting a few facts, negative journalism, Guild branches failing to scream about this movie, screenwriter credits, Oscar nominations – should not change how you feel about a movie. If you see it. Selma is a motion picture about Martin Luther King, the voting rights in America, a truly pivotal and essential part of history, whether black, white, American, a man, a woman. Really, you only require to be a human being, for this to be important. So how do I review a film like Selma?
Well, for a start, see the film. Which I did, and now have. From the opening frame of King (David Oyelowo) speaking, which seemed like he was doing so directly to me, the movie Selma had my attention. It had my full attention. Minutes later it almost stopped my breath. Sometimes you cannot possibly choose to invest in a motion picture, because before you know it you are already right there.
Selma has no particularly huge, epic scenes in terms of throwing us off course or forcefully trying to impress us. Ava DuVernay’s direction is so airtight, at times, just simply scenes of characters talking, it felt like I was seeing a talented new brand of film-making. And the picture is not simple in terms of non-effective. The framing, and everything within that frame, at any given time, is immaculate. Nothing fancy, just precision story-telling. There is not one bit of fat on this meat. The limited use of slow motion, the toned down music, and unconventional camera angles, only adds to this. A real sense of being there, like an expertly made documentary about the stuff you know, but gladly told to you again. Never tedious, never does it slow down. And it is not particularly rushed either in it’s overall pacing. Each scene is meticulously constructed, and yet casually executed, without ever showing off.
There are some truly heart-warming and genuine human moments in Selma, as there should be. And they too are never overplayed. When King seems to express the same sort of remorse when Kennedy was shot as he does to the more recent death of Malcolm X – by merely mentioning them together in a speech. When Lyndon Johnson and King speak on the phone following the murder of the two whites that had joined the march. The president gracefully states he rang their wives, to which King just retorts that he had not rang Jimmie Jackson’s family, the young black kid that was gunned down shamefully by authorities. It is not a particularly proud moment for anyone, but I had an urge to applaud right there and then. King consoling a grieving Cager Lee. Johnson telling Wallace he does not want to be associated with him in the history books. Great scenes, too many to list. Never does this erupt into melodrama or thriller territory. This is a graceful film, of conversations, of meetings, of relations – a film of, and about, progress.
and the actor playing Dr Martin Luther King Jr, a black Englishman, David Oyelowo, were not that good enough also? Maybe they did not get the screeners. Maybe they have not seen it. But hang on a minute, how many of the Academy actually saw 12 Years A Slave, a movie about a crucial period of history for black America, and voted for it as the Best Picture of the year? Ooh, controversial. How am I going to review a film like Selma now?
Selma made me want to celebrate this movie, this honest depiction of history. At times as well it felt that even though the whites had the power and the rights, they were in fact the moral minority. Dare I say I was a little ashamed to be white? But this only adds to the impact. As I was watching it, those violent events or ignorant attitudes from fifty years ago, I was almost being reminded, with bewilderment, that this happened. It is an vital part of history, but as a movie experience it took a grip of me, and did not let go. Watching over the shoulders of these giants, seeing their world change before our eyes. And the ending, every single aspect of that final sequence made for an incredibly powerful, emotional crescendo. Not sure there has been a more exceptional closing of a movie all year. Glory, hallelujah. Glory, hallelujah.
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I can say that I agree that Selma was one of the more precisely shot and edited films of 2014. Right up there with Gone Girl for it's exacting sentiment and purpose of it's story telling.
Those scenes especially when they're banding together to cross the Edmund Pettus Bridge, faced with the opposition of the racist police and townspeople were so tense, I physically leaned forward in my seat.
Anyway, yes, well said Robin. 🙂