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MOVIE REVIEW: "Things Never Said" Speaks Volumes About Love and Life

By goodblacknews on September 13, 2013

things-never-said

THINGS NEVER SAID  Cast: Shanola Hampton (Kalindra Stephney), Omari Hardwick (Curtis Jackson), Elimu Nelson (Ronnie), Tamala Jones (Daphne), Michael Beach (Will Jackson), Dorian Missick (Steve), Charlayne Woodard (Charlotte), Tom Wright (Daniel) Written & Directed by: Charles Murray  Rated: R  Ohio Street Pictures

Review by Lori Lakin Hutcherson
Review by Lori Lakin Hutcherson

I might as well get out the disclosure right up front: I have known Things Never Said writer/director Charles Murray for well over fifteen years, and at every turn of his career (executive at Magic Johnson’s production company, television writer on Third Watch and Criminal Minds, independent filmmaker) I have rooted for him.  Charles is smart, funny and more than a bit of an unapologetic iconoclast, which could only mean two things for him – career suicide or artistic success.  After seeing Things Never Said, I am thrilled to report he is a creative force only beginning to mine the gifts he has to share with this world.
The story of Things Never Said is deceptively simple: Kalindra (Shanola Hampton), a young woman haunted by a miscarriage and stuck in a bad marriage to former basketball star Ronnie (Elimu Nelson), seeks an outlet through spoken-word poetry.  Kal succumbs to an affair with Curtis (Omari Hardwick), a fellow poet who seems to see into her soul, but has his own heavy baggage Kal may not want to take on.  While that might sound prosaic and maybe even a little pretentious (note: the poetry is extremely well-performed and relatable, so if you weren’t a poetry fan before, you will be after this), what’s special about this movie is the nuanced, complex and unpredictable ways Murray has his characters grapple with their conflicts.
At first, you don’t want Kal to cheat on her husband – she is too intelligent and creative a woman to fall for the game the sexy-but-mysterious Curtis spits at her.  But then again, you also wonder why Kal is staying with the sullen, unsupportive Ronnie, who seems to be going nowhere in his life and holding her back from hers.  As the layers start to unfold, you learn not only has Ronnie gone through the hardship of losing his future, but also that Kal was brought up by her mother Charlotte (Charlayne Woodard) to believe that sticking with one’s husband no matter what is what defines a woman as a good person and wife.  So when Kal finally does give in to her attraction to Curtis, they have so much chemistry and tenderness and understanding between them you want her to get away with the affair… until you realize Curtis may have even less to offer Kal than Ronnie when it’s revealed he’s an ex-con and why he landed in jail in the first place.  
Actress Shanola Hampton carries the organic twists and turns of this movie so beautifully it’s surprising she’s never had a major role in a film before.  She has an equally able partner in Omari Hardwick, who makes you root for Curtis despite the palpable possibility he may be more trouble than he’s worth.  Which, I think, is Murray’s point – no matter how much you connect to another person and no matter how they make you feel about yourself or even challenge you to become your better self – the real romance and discovery lies within knowing and healing oneself.  This is the thing not said about love – it alone does not conquer all.  This is the thing not said about art or creative outlets – they alone do not solve deep issues.  Kalindra is not “saved” by Curtis or her poetry, but rather, they both shed light on her path to saving and healing herself from all of the preconceived notions she’s grown up on, from all the ways she’s limited herself, and from all of the abuse she’s accepted – external and internal.
Things Never Said is an important addition to African-American independent cinema and humanistic storytelling that should not be missed.  Its Los Angeles run has been extended through September 19 and the film opens in Atlanta, Boston, Washington DC, and Gary, Indiana on September 13 – TODAY!  Please get out and support the movie — you can get updates on other showings around the country from thingsneversaid.com or on the Things Never Said Facebook Page.  Also, check out the trailer below:
[youtube=http://www.youtube.com/watch?v=R1BFiyFqXfQ&w=560&h=315]

Marc Bamuthi Joseph and Kyle Abraham Hip-Hop Performance Pieces Captivate at Lincoln Center Out of Doors

By goodblacknews on August 3, 2013
Marc Bamuthi Joseph’s “Word Becomes Flesh” was performed at Lincoln Center Out of Doors. (Photo: Ruby Washington/The New York Times)

In a split bill at Damrosch Park Bandshell in New York City, Marc Bamuthi Joseph’s “Word Becomes Flesh” and Kyle Abraham’s “Pavement” explored race, power and, most specifically, what it means to be a black man in contemporary society as part of the Lincoln Center Out of Doors series last Thursday night. Using spoken word, movement and music, Mr. Joseph takes on the issues confronting black fatherhood in “Word Becomes Flesh,” which program notes describe as a “choreopoem.” First performed in 2003 by Mr. Joseph, the work is a recitation of letters written to his unborn son. Now “Word” is reimagined for an ensemble cast of six. The performers share their fears about bringing a child — first addressed as “heartbeat” and later as “brown boy” — into the world.

Spurts of movement — diagonal runs from the wings; slow, exaggerated steps; and springy jumps — often serve to accentuate the wistful text, which magnifies the idea of multiple, insecure fathers-to-be. “You have an intrinsically intimate relationship with your mother,” one dancer says, “but your dad didn’t check out when you were in the womb.”

For all of its words, Mr. Joseph’s loquacious piece lacks poetry. Mr. Abraham’s “Pavement” is more elegiac, yet the thorny sightlines of the Damrosch bandshell did the piece few favors. Mr. Abraham is a beautiful dancer — unpredictable and spry, with the kind of articulation that is likely to become only more refined and subtle with age — but his packed productions are somewhat unconvincing.  “Pavement,” influenced by the writings of W. E. B. Du Bois and John Singleton’s 1991 film “Boyz N the Hood,” is set in the historically black neighborhoods of Pittsburgh. It was there, at 14, that Mr. Abraham first watched the Singleton movie; audio clips from the film are included in the production.

Tension is wonderful in a work, and Mr. Abraham’s propensity for moving his dancers in multiple directions — his movement phrases show a body swirling one way and then the next before evading momentum with a backward hop in arabesque — can be exhilarating. But the push and pull between narrative and dancing throughout “Pavement” gives it a choppy, locomotive feel. The film audio is overkill.

REVIEW: Why "Fruitvale Station" Is The Must-See Movie of the Year

By goodblacknews on July 26, 2013

fruitvale-station-posterFRUITVALE STATION  Cast: Michael B. Jordan (Oscar Grant), Octavia Spencer (Wanda), Melonie Diaz (Sophina), Ariana Neal (Tatiana), Kevin Durand (Officer Caruso), Chad Michael Murray (Officer Ingram), Ahna O’Reilly (Katie) Written & Directed by: Ryan Coogler  Rated: R  The Weinstein Co.

Review by Lori Lakin Hutcherson
Review by Lori Lakin Hutcherson

I intended to write this review two weeks ago, when I saw Fruitvale Station in limited release.  Two things occurred to prevent that – one ordinary: my babysitter cancelled, so bye bye writing time – and one extraordinary:  George Zimmerman was found not guilty of killing Trayvon Martin the very next day.
In the wake of the national outrage and protests and vigils, I thought my review of Fruitvale Station couldn’t help but be  greatly affected.  But as the film goes into wide release on 1,064 screens today, I realize I feel exactly the same about the film as I did two Fridays ago.  Put plainly, Fruitvale Station is the most riveting, artfully-told, written, directed and acted movie of the year, it should win 2013 Academy Awards for Best Picture, Best Actor, and Best Director, and every adult living should immediately make all efforts to see this movie and receive a mind-and-heart-altering reminder that every single person alive, no matter what sex, creed, color or age, has humanity that deserves recognition and respect.
The basics of the story are probably already known to most: Bay Area-based writer/director Ryan Coogler was deeply moved by the tragic shooting of fellow Bay Area native Oscar Grant, a 22 year-old black man who was killed at the Fruitvale BART Station by police on New Year’s Day 2009.  Coogler wanted to show what Grant’s last day of life was like, so people would see not just a victim or a thug, but who and how Oscar really was.  And not just the good or misunderstood parts of Oscar, but also the bad, the funny, the sweet and the ugly – and know he was a vibrant, complex being who in no way deserved the callous and all-too-common fate he received.
The movie opens stunningly with real cellphone footage of Oscar Grant’s murder.  If you’ve never seen it before (which I hadn’t), it is gutting.  I involuntarily burst into tears – I was just so sad and angry and shocked at the injustice – it took a lot to pull myself back into the movie and get to know Oscar in life as viscerally as I did in death.  As much as it smarts, Coogler’s choice to start the film this way is brilliant, because it communicates powerfully the underlying truth of what’s to unfold – you may be watching a movie, but do not ever forget – THIS WAS REAL.
Fruitvale then segues into off-screen dialogue between Oscar (Michael B. Jordan) and his girlfriend Sophina (Melonie Diaz) much earlier that morning.  She is upset with Oscar because of an infidelity he tries in vain to explain away.  As they get their young daughter Tatiana (Ariana Neal) ready for school, we learn Oscar is a sweet, loving and permissive father (he sneaks his daughter the extra snack her mom said she couldn’t have) who sells dope sometimes to make ends meet.
As we continue with Oscar through the challenges and banality of his morning (stretching the gas in his tank before filling up, texting his Mom “Happy Birthday”, dropping his girlfriend off at work, picking up food for his mom’s party, worrying about rent) we learn he’s been in and out of prison several times and is struggling to get it together.  Oscar, mind-blowingly portrayed and embodied by Jordan, comes off as equal parts charismatic, tough, caring and desperate.  In one moment he is helping a customer in the deli where he worked figure out how to cook fish by putting her on the phone with his Grandma Bonnie; the next he is defiantly demanding/begging his ex-boss to rehire him.  When he doesn’t get his job back, Oscar immediately plays it off with a co-worker, lies with a smile, and acts like it’s all good.
The code switching Oscar goes through in this one day – the subtly different-yet-specific ways he behaves and speaks with his daughter, his mom, his sister, girlfriend, his homies, his boss – is, I think, the key revelation of the film, and why this story is connecting with audiences everywhere.  Oscar Grant, the young, black, ex-convict drug dealer is, surprisingly, an everyperson, dealing with the same contradictory bundle of human dynamics, dramas and relationships we all do.
When Oscar makes a pivotal choice to change his life mid-way through the film (after reflecting on time he spent in jail), he drops his tough-guy mask and confesses to Sophina that he lost his day job and has taken himself out of the dope game.  When Sophina starts to go in on him (understandably – it’s clear she’s been through a lot with him), her strength and humanity shine through when a few beats later she forgives and supports him despite the immediate hardship his actions are creating.  Diaz is perfect in this underplayed moment – Sophina, more than anybody, sees the vulnerable Oscar and whether or not she fully believes in his potential, she loves and respects him enough to support him on his stilted journey towards betterment.
A lot more happens in the movie before we get to the fateful moment on the BART platform at Fruitvale on New Year’s Eve 2008/New Year’s Day 2009, but truly, instead of reading a summary of it here, you should just go see it for yourself.  Do let me say though that Octavia Spencer, who plays Oscar’s mother Wanda… well, what she does in the movie is beyond deserving another Oscar (which, of course, she does).  She should open up acting clinics and teach other actors how real people actually behave in extreme circumstances.  If the viewers I was in the theatre with weren’t crying before, the way Spencer reacts to the news of Oscar’s death and her subsequent viewing of his body in the hospital caused an all-out, audible sob fest.
From beginning to end, the whole movie feels authentic, without a shred of manipulation.  Though there is definite filmmaking throughout Fruitvale Station and filmic choices being made, they are seamless and only enhance the raw power and poignancy of the story.  Even at a relatively short running time of 1 hour 30 minutes, I came out of the theater feeling as if I’d lived another life.  And I did.  I lived Oscar Grant’s life and was deeply, sorely sad it was gone.  And the great thing – I wasn’t alone.  The whole audience felt it for 90 minutes – black, white, male, female, young, old – we all felt like we were Oscar Grant.

LACMA's 'Shaping Power' Exhibit Reveals Central African Masterpieces

By goodblacknews on July 13, 2013
"Caryatid Stool" from the 19th century, part of the LACMA exhibition "Shaping Power: Luba Masterworks from the Royal Museum for Central Africa." (LACMA / Royal Museum for Central Africa)
“Caryatid Stool” from the 19th century, part of the LACMA exhibition “Shaping Power: Luba Masterworks from the Royal Museum for Central Africa.” (LACMA / Royal Museum for Central Africa)

A terrific exhibition of carved wood sculptures inaugurates the Los Angeles County Museum of Art’s first gallery exclusively dedicated to the display of the arts of Africa. On the second floor of the Hammer building the newly renovated space is not large: Big exhibitions often have entryways that are bigger. And it’s not uncommon to see shows with educational texts covering more wall space than is occupied by this compact show.
But bigger is not always better. The 27 ceremonial objects that make up “Shaping Power: Luba Masterworks from the Royal Museum for Central Africa” are scaled to the human body. Many are made to fit in the hand, on the head or under one’s neck, while sleeping. Each needs to be seen up-close and in person.
All of the ancestral figures, medicinal bowls, regal staffs, double-sided cups and elaborate masks resonate alongside their neighbors. This allows first-time visitors and more experienced viewers to see the stylistic consistencies that unify these fascinating objects and to notice the idiosyncrasies that distinguish one from another. Sometimes the hand of a specific artist is revealed. More often anonymous adaptations amplify each piece’s accessibility, not to mention its humanity. Such range reveals a robust, visually sophisticated culture.

FILM REVIEW: Thumbs Up for "White House Down"

By goodblacknews on July 8, 2013

Download-White-House-Down-Wallpaper-Movies-745x558WHITE HOUSE DOWN  Cast: Channing Tatum (John Cale), Jamie Foxx (President Sawyer), Maggie Gyllenhaal (Finnerty), Jason Clarke (Stenz), James Woods (Walker), Richard Jenkins (Raphelson), Joey King (Emily Cale) Directed by: Roland Emmerich  Rated: PG-13    Sony Pictures

Lesa Lakin
Review by Lesa Lakin

 I figured out pretty quickly how great this movie experience was going to be and it started the second I decided to question the price of my ticket (it seemed a few bucks higher than usual).  I confidently uttered to the guy behind the counter as I looked at the digital price board, then at my ticket, and finally at my phone for the correct time:  “Hey… isn’t this supposed to be the matinee price?”  I was ripe with evidence for a 10 a.m. AMC price battle.  But Counter Guy was ready for me – he had that gleam those movie nerds get when they are super excited to share some precious movie nerd information with a movie-going civilian.  He told me I was lucky, for I would be seeing the film in… ETX!  “Okay… E…T… what?  Do I really need that?  Is it worth the extra few bucks?”  He calmly leaned in and said, “Trust me, if you don’t see White House Down in ETX…you’ll regret it.”  (I gave a quick “I doubt that” glance he wisely chose to ignore.) “It’s the enhanced theater experience and totally worth it,” he proclaimed.
The situation made me chuckle and I wasn’t in the mood to haggle anymore.  Besides, I was about to miss the previews, not to mention I’d have to wait another 30 minutes to see the non-ETX version.  So I was in, and Counter Guy seemed pleased I backed off so quickly.  White House Down in ETX… recommended by Brian… and after all that, I’ve got to say, I enjoyed every bit of my enhanced theater experience.
White House Down may be down (ranked #6 this week)… but don’t count it out.  This film is downright fun and exactly what I expected it to be – loud, funny and non-sensically entertaining, but in a good way.  It’s a summer formula blast-and-laugh movie.  Even though it didn’t blow the competition out of the water, if you are willing to go with it and have fun, it certainly delivers.  I readily admit that the premise is sort of nuts.  Divorced, ex-soldier, capital cop, John Cale (Channing Tatum), scores a Washington favor and gets his politically-obsessed daughter, Emily Cale (Joey King), a trip to accompany him to the White House while he interviews for his dream job of working Secret Service detail for the President (Jamie Foxx).  Okay… so maybe that makes sense.  
But then he randomly discovers that an old friend (Maggie Gyllenhaal) is doing the interviewing.  Okay, I’ll drink the Kool-Aid and buy that coincidence… but where it gets just straight-up preposterous is when Emily decides (after her Dad has lied to her about his chances of really getting the job) to take the White House tour and they run into the President who does a quick “shout out” to Emily’s blog followers and oh, guess what, today is the day that bad guys out-smart everyone and take over the White House.  The bad guys’ paramilitary is ridiculously armed and seems to outwit everyone on the White House staff.  They take out most of the in-house Secret Service and cops so it’s up to John Kale to save POTUS, his daughter and the world.  And oh, did I mention World War III might happen and the bad guys also have missiles?  And regardless of ALL THAT… I bit.  It’s Popcorn Flick 101 and it’s awesome.  The whole cast of White House Down gives some surprisingly memorable performances.  In fact, the casting for this film is so spot-on, the actors help you forget that what they are saying really shouldn’t make any sense… but they sell it and it works.
This film doesn’t try to be anything that it isn’t, and you know it the minute the leads hit the screen.  Tatum is the “Every Guy” every guy thinks he could be and the guy girls want to believe they can get.  He’s got that quiet hunk thing going for him.  Foxx is meeker than we are used to seeing on screen, but it works… he’s supposed to be POTUS after all (and despite having to play “Presidential,” he still manages to bring some funny).  There is something very clever about teaming seasoned Jamie Foxx with the younger Channing Tatum, and the film offers several throwbacks to Gen-X times.  There are pagers, Air Jordans and heck, just blowing up the White House (Independence Day anyone?  Which, btw, was also directed by Emmerich) fondly recalls the 90s.  But even the blockbuster/comic book film generation can appreciate this one… if they give it a shot.
Although I’m grateful to Brian at AMC, I know the non-ETX version would have captured my fancy just fine, because White House Down is surefire summertime fun.

TV Review: Dwayne Johnson Rocks New Reality Series "The Hero"

By goodblacknews on June 10, 2013

The Hero Season 1 - Ep 101 Ph: Frank Masi Panama City, Panama
The Hero (8pm Thursdays, TNT)
Host:  Dwayne Johnson
I’ve got to give it to the folks at TNT – it was a smart choice to air a competition reality show hosted by wrestler-turned-movie-star Dwayne “The Rock” Johnson. It’s completely entertaining, mainly because The Rock reminds the viewer very early on, well…that he’s got charisma in spades.
The Hero takes nine contestants and makes them endure physical challenges as well as ethical mind games while attempting to gain enough viewer appeal to be voted into the final where the winner’s pot could reach up to one million dollars. I usually get frustrated with the whole audience voter scenario, but The Hero has thrown in measuring a person’s moral compass, and that makes what the home audience thinks a little more appealing.
On top of jumping, rappelling, crawling, and conquering real fears, the participants have their principles tested with offers of cash on the sly.  In other words, the show asks each of them the question: “If no one’s looking, how greedy will you be?”  If every contestant selflessly resists the chance to pocket easy money when it’s offered in private, then it all goes into the team pot.  The way the money is earned and the challenge scenario is tiered and a bit confusing.  Nonetheless it’s easy to grasp that there is a one in nine chance to win up to a million dollars.
James Bond himself doesn’t have to do half the stuff these contestants do.  And the casting is genius.  They’ve got contestants with serious phobias. One can’t handle heights, another freaks out in the dark…um, hello…you signed up for a show called The Hero hosted by the Rock…and you’ve got phobias?  It’s such a fun twist I was sucked into watching human behavior at its rawest.
In a pretty hilarious segment, a female contestant who is terrified of heights is asked to join The Rock atop the roof of a skyscraper. He eagerly awaits her as she chants, “I’m not going to fail … I’m not going to fail.” As she walks up two flights of stairs (yes, only two) to get to him he utters, “You’re not going to fail.” It’s just some stairs and there is railing but she is terrified. She makes it and leaps into the Rock’s bulging , welcoming arms. It’s a terrific human moment. He smiles, hugs and encourages her, but then offers her some money to pocket for herself or put in the pot. A moral dilemma ensues.
It’s a provocative scenario each time it occurs: “You’re broke…here’s some money and you need it… take it or put it in the pot.” As one contestant puts it (I’m paraphrasing here): “These people are not saying no to the money because they are good people. They are saying no because they want to appear to be good for the audience that votes so they will be voted to go to the end and have a chance at a more money.”
All on all, The Hero is a thoroughly watchable show, although I can’t say the title works. Are these people actually heroic? Not really. But Dwayne in all his Rockness and the challenges make for a fun summer series. Set in Panama, I’m not sure they’ll find a “Hero”… but they may just find the ratings.
Lesa LakinReviewed by Lesa Lakin

Movie Review: Smiths Survive "After Earth"

By goodblacknews on June 4, 2013

hero_after-earth-jaden-smith-volcano
After Earth
Cast: Will Smith (Cypher),  Jaden Smith (Kitai), Sophie Okonedo (Faia), Zoe Kravitz (Senshi) Director:  M. Night Shyamalan; Rated: PG-13
After Earth did something I wasn’t expecting… it made me think. Better than I was anticipating, this film isn’t exactly what it seems and I’m glad I saw it with my teenage son, given what this film is really about. After Earth is wearing a carefully marketed disguise. If you are expecting a Smith/Smith epic sci-fi action-packed adventure popcorn flick… well, you get some of that. But actually, at its core the film is a coming-of-age tale about the evolution of a relationship between a career-driven father and his teenage son.  It’s about the struggle of a parent and child being forced to find a connection and faith in one another after tragedy and circumstance befall them.  All the sci-fi galaxy hoo-ha is just a backdrop. 
The movie takes place on a futuristic planet Earth where fearless uber soldier, General Cypher Raige (Will Smith), and his cowardly son, Kitai (played by Smith’s real-life son, Jaden) unexpectedly crash land. Every entity on this planet poses a threat and has evolved to kill humans instinctively.  The spaceship’s broken in two and the sole survivors need to recover the tail in order to be rescued.  When Cypher discovers he has broken both legs after the crash landing, there is no choice but to rely on Kitai to make this journey alone, which is troubling because he does not possess his father’s lack of fear.
It’s an interesting choice to bench action star Will Smith. He’s flat on his back most of the film. Unlike in most of his sci-fi themed movies, the power of Will is not saving the day.  This one’s on Jaden and he needs every bit of his Karate Kid training to trudge through evolved Earth. Cypher can only guide Kitai with his voice throughout the journey to the half of their ship that contains a beacon signal that must be deployed if they are to be rescued. It is the responsibility of a parent to provide his child with the proper tools to do well on his own.  But what do you do when you’re a fearless hero and your child is well… not? 
After Earth begins with Kitai not making ranger staus. He’s prone to stress, panic attacks and straight-up fear.  Okay, so he’s not exactly the super soldier his father is. Cypher possesses the rare skill of being able to shut out fear which makes his enemies unable to see, smell, or locate him.  Kitai does not possess this gift.  This proves disappointing to Cypher. His mother, Faia, played by Sophie Okonedo, establishes that Kitai has a better relationship with his mother; perhaps some bonding with Dad is in order.  This is how Kitai ends up on a business trip with his father Cypher. 
But something else is going on between these two which reveals itself in several flashbacks.  Kitai had a sister,  Senshi (Zoe Kravitz), who was killed by a predator called an Ursa. Senshi, played effortlessly by the delightfully easy-to-watch Zoe Kravitz, gives us a glimpse into what happened to Kitai and why he is so tormented. He blames himself for surviving an Ursa attack that took his sister’s life and he believes his father blames him as well. Thus the theme of family and familial stuff that needs to be worked out progresses. 
If I had not seen this film with my own teenaged son, I’m not sure I would have enjoyed it as much as I did. I related to the parent-and-teen tug of war. The film has some cool moments once you let go of the fact that Will Smith is not going to get up and go save his real-life son. It’s all on Jaden, and despite a rocky start (Jaden speaks in an accent I can only describe as, well… not great. It’s supposed to be Australian… I think?  It’s so distracting, I thought… uh,oh I can’t sit here. But my son was into the movie and Big Willy always makes me laugh, so I committed to relaxing and enjoying my mother/son time), the Karate Kid training pays off in spades. Jaden shows us his cool footing during climbs, jumps and a really entertaining glide through the air. 
After Earth was adventurous for sure. The special effects were fine – nothing “Earth” shattering. Having a teen carry a mega-film is a big ask. Jaden does okay. He gets better as his character evolves; perhaps this is because the character grows closer to the real-life, confident Jaden. It’s very hard even for a second to get past the fact that you are watching Will Smith and his son Jaden. My take is this: because Will Smith is such an action star and Jaden was so definable in the Karate Kid, and they are such a well-known, real-life family, believing these two as space son and Dad was always going to be an automatic hurdle for the audience. If Jaden was any other actor playing against any other actor, maybe I wouldn’t be judging him with a magnifying glass.
All in all, After Earth is not the surefire summer blockbuster we had hoped for, but movie making is tough and the Smiths are entertaining in any form.  
Lesa LakinReviewed by Lesa Lakin

MOVIE REVIEW: Jackie Robinson Biopic "42" Hits a Humanistic Home Run

MOVIE REVIEW: Jackie Robinson Biopic "42" Hits a Humanistic Home Run

By goodblacknews on April 12, 2013

by Lori Lakin Hutcherson

“If he were white, we would call that spirit.”

Whether or not Branch Rickey, the Brooklyn Dodgers President and General Manager, ever said this about Jackie Robinson in response to those who thought he might be trouble for major league baseball because of being court-martialed for refusing to move to the back of an Army bus, doesn’t matter.  

What does is that Rickey’s (gamely played by Harrison Ford) matter-of-fact delivery of that line sums up not only the heart of the movie, but the heart of the double standard commonly applied to systemically oppressed people who refuse to comply with their own dehumanization.

Chadwick Boseman portrays the legendary Jackie Robinson in “42.”

Although based on actual events as Jackie Robinson integrated major league baseball, spirit is ultimately what the biopic “42” is about – fighting for unequivocal truths to come to light, and to stir the best within us all regardless of race, color or religion by leveling the playing field and by just straight up playing ball.

 “Lincoln Heights” actor Chadwick Boseman, in his first major film role, does a commendable job bringing sports legend and civil rights icon Jackie Robinson to life. Boseman has an athletic grace and physicality that conveys the intelligence and scrappiness of Robinson’s game, but his performance shines most when he silently conveys Robinson’s struggle to hold himself in check when he is verbally and physically assaulted on and off the field.  

At one point in the film, Robinson’s baseball prowess is remarked on as “superhuman,” but after seeing all he endured off the field in “42,” his ability to stay calm and focussed in the midst of a sea change in American sports and culture was arguably his most compelling power.

Boseman and Andre Holland as Pittsburgh Courier reporter Wendell Smith

Writer/director Brian Helgeland wisely starts the film with a black reporter chronicling Robinson’s achievements (later revealed to be Wendell Smith of the Pittsburgh Courier, a well-known black newspaper of that era; Smith was assigned to cover Robinson’s journey), setting the stage by introducing and narrating America’s still racially tense post-war years.  

By framing this film about a black hero through the eyes and words of a black reporter shows Helgeland, who wrote the acclaimed “L.A. Confidential” and “Mystic River,” understands how deeply this movie is about a watershed moment in African-American history as much as it is about one extraordinary man.  

It needs to be told as “our story,” so by making Smith (played with quiet strength by Andre Holland) a guide, witness, admirer, and beneficiary of Jackie Robinson’s accomplishments, the core audience of “42” is able to hold the same positions while watching the story unfold.