Tag Archives: David Oyelowo


Selma film posterSynopsis

About Martin Luther King (David Oyelowo) and the civil rights struggles in 1965 in Selma Alabama.  King organizes a march for the right to vote.  About the persecution of black people by southern whites led by George Wallace (Tim Roth).  Lyndon B. Johnson (Tom wilkinson) tries to put off civil rights to a later date.  FBI chief Hoover (Dylan Baker) tries to slander King.  Malcolm X (Nigel Thatch) is the scarier alternative to King’s non violence. Carmen Ejogo plays Coretta Scott King.


Selma commendably avoids the sentimental trap of epiphanous moments on the self congratulatory road to liberal democratic heaven.  There is no ambushing of the film by a white film star (as there might have been until recently).  David Oyelowo avoids the sort of statuesque dignity which would turn King into a black Lincoln.  He has affairs and is humanly flawed yet is a powerful presence.  His funeral and political ovations are musical and stirring.  His decision to ‘retreat’ after the second march on the Edmond Pettus bridge is all the more impressive for its subtle selflessness.  The focal scene in Selma is the march on the bridge, its role as a symbol is obvious.  In numerous films bridges have been critical meeting points and the reality of that is bloodily illustrated in Selma.  Malcolm X is there to act as a reminder that radical opinion might view non violence as an Uncle Tom tactic, that martyrdom was a useless gesture in the face of white power, speaking of which, Lyndon Johnston does look as cynically self serving as any politician condescendingly acknowledging that civil rights is morally fine but not an immediate priority.  J Edgar Hoover looks like a well groomed rat and behaves like one.  Carmen Ejogo as Coretta Scott King also avoids the stereotype of purse lipped dignity foisted on so many black actors in these sort of films.  The Kings have to deal with the simplified image of the good man of poetic rheetoric and the reality of a middle class couple caught up in the terrors of civil rights and the emotional torments of marital infidelity.  There is a memorable scene at the beginning of Selma in which Oprah Winfrey is asked to prove her eligibility in registering for the vote.  She’s undone by the simple malice of institutionalised injustice.  A triumphant film.

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Posted by on March 30, 2015 in At the cinema, Film Reviews


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A Most Violent Year

A Most Violent Year film posterSynopsis

1981 is the year when Abel Morales (Oscar Isaac) gets into the New York heating oil distribution business, but he wants to do it legitimately.  He inherited his business from his criminal father-in-law.  He makes a deposit on a waterfront deal and has 30 days to close the deal or risk losing it all.  He wants to persuade the District Attorney (David Oyelowo) of his legitimacy, and he must protect his business from violent competitors.  Jessica Chastain plays his business-shrewd wife.  Morales’ employees are afraid since they are in the firing line.  Will Morales’ business survive?


Oscar Isaac looks like Al Pacino (especially when in Scarface), so it comes as a bit of a shock to learn of Morales’ aspirations towards legitimacy, in fact he makes a big deal about it, as if he expects us to congratulate him when he says “I AM NOT A GANGSTER”.  He is goaded into chasing one of the thugs who attacked his employee, he gets rough with him but does not shoot him.  The street and waterfront scenes of New York recall the dour gritty look of the seventies like in Serpico.  The interiors are gloomy and tacky, was 1981 really this grim?   When, as a well dressed businessman, Morales gets out of his car to negotiate with the DA and the police one expects somebody to get shot but it doesn’t happen.  The feel is Sidney Lumet and Scorsese, the waterfront could be On the Waterfront from 1954.  The film is all the more fascinating precisely because it shuns the easy option of violence.  Resorting to guns can be counter productive to the usual pursuit of profit in spite of the numerous “it’s business” excuses for violence in the Godfather and other gangster films.  Morales is trying to maintain self respect as his patriarchal pride is wounded when his wife Anne offers her help in his business problems.  When the DA orders a search of the Morales house it looks like a re-tread of Eliot Ness pursuing Al Capone but Anne makes it look like the hounding of a respectable yuppy household.  The presence of a gun in the house startles because it seems out of place.  Chastain’s Anne looks like Michelle Pfeiffer in Scarface but she is too intelligent to be overawed by the threats inherent in the ropiness of business dealings.  Her father was, after all, a criminal who succeeded through violence.  When there are business meetings we think about the pomposity of Mafia procedure, especially when suspicious recriminations fly about over Morales’ rival,s but no-one comes in waving Capone’s baseball bat.  Excellent.


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Posted by on February 20, 2015 in At the cinema, Film Reviews


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The Butler

The Butler film posterSynopsis

Forest Whitaker plays Cecil Gaines who is a black kid on a cotton plantation in the 20s.  His mother is raped and his father is murdered.  To escape poverty and persecution he becomes a butler, eventually moving in as the White House butler from the Eisenhower era (1956) to Reagan (1989).  He serves through the Civil Rights movement to Kennedy’s assassination, to Nixon and his son’s involvement in the Black Panthers, and later in the anti-aparteid movement.  One of his sons is killed in Vietnam.  Oprah plays his spouse and we see heated domestic times.  Cecil Gains lives to see the inauguration of Barack Obama.


The film turns history into soap opera and a pretty demeaning one for black people.  That the key period of the history of the struggle for civil rights is tracked through the subservient role of being a butler is surely trivializing.   Cecil Gaines and his wife Gloria (Oprah Winfrey) are invited to dinner by the Reagans surely as a patronized mascot and show trophy.  That this is played for acceptability by the ex-radical Jane Fonda (playing Nancy Reagan) is breathtakingly ironic. At one point Cecil Gaines’ son attacks Sidney Poitier for being the white man’s idea of what a black man should be (anyone who’s suffered watching Guess Who’s Coming to Dinner will see the point), yet The Butler itself is little more than an updating of that film insofar as it simplifies and sanitizes the struggle for equal rights.  It does this by turning this struggle into soap opera routines brought on as a dramatic backdrop to the life of the butler, history as walk on epiphanies for the serious business of sorting out domestic happiness and keeping the silver polished.  We’ve seen this in lots of films that trawl through the crucial moments of the 20th century.

This film could also be called “The Shawshank Redemption all over Again”.  In that film the passing years are marked by change of film stars on the wall posters in the prison cell, in The Butler it’s the change of decor and style in the White House.  Like Morgan FrTheeeman in The Shawshank Redemption, the early deference shown by Gaines when he appears before white authority in asking for a pay rise or in Freeman’s case, in asking for his freedom, is replaced by a more self confident attitude.  A more perceptive look at a butler’s life is the novel and film  Remains of the Day by Kazuo Ishiguro in which Anthony Hopkins show that this kind of servitude can be escapism from personal responsibility and emotional commitment.  The false idealism of this kind of self effacing indignity, (after all, he’s serving some pretty worthless people) is well exposed in that story.  In Remains of the Day Hopkins is insulted by being patronizingly cross examined over his presumed political ignorance, but in The Butler the cross questioning of Cecil Gaines is more benign but still paternalistic.  It does show that The Butler lacks the insight of Remains of the Day.  Cecil Gaines is perceived merely as an anachronistic Uncle Tom or “House Nigger” by his radicalized children.  The presidents are wheeled on to provide the game card quotes, another Shawshank way of marking the passing years.  Eisenhower is elderly and genteel, the Kennedys are chic, John Kennedy as usual is overly praised for providing cost-free rhetoric whilst the real work of civil rights goes on down South.  Nixon is cornered and self pitying.  The only other president deemed worthy of a walk on part is the mobile statue called Ronald Reagan.  Martin Luther King also gets a walk on part, he defends the butler’s job against Gaines’ radical son but one gets the feeling he’s simply making excuses for the film itself.  The film is just a soap opera of acceptable black stereotypes.

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Posted by on January 1, 2014 in At the cinema, Film Reviews


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The Paperboy

The Paperboy film posterSynopsis

Directed by Lee Daniels, set in 1960’s Florida.  The story is told by a black maid Anita (Macy Gray).  Nicole Kidman plays Charlotte Bless, she corresponds with death row cop killer Hillary van Wetter (John Cusack).  Ward Jansen (Matthew McConaughey) is a journalist following a story that van Wetter is innocent.  He investigates with Yardley Acheman (David Oyelowo).  Van Wetter will only be interviewed if Charlotte is present.  Ward’s brother Jack (Zac Efron) bums around and gets obsessed with Charlotte.

SPOILER ALERT!  Van Wetter is released and lives with Charlotte in the Everglades.  He kills her and could kill others.  He is caught again.  Ward is off to fulfil literary ambitions…


This movie feels as sweaty, languid and torpid as it looks.  It’s like a stroll through a steamy greenhouse decorated with orchids and iguanas.  This is Tennessee Williams land, the youthful Marlon Brando had the time of his life in this ambience.  This is the era of the anti-racist civil rights movement, we are in the deep south and we get reptilian looks and attitudes from white officialdom.  Yardley, of course, is the easily targeted victim of this as a black man, though he subverts their racist stupidity by dropping his English accent to speak like an aggressive American.  The policemen are like Rod Steiger getting a deserved comeuppance from Sidney Poitier. Nicole Kidman’s Charlotte is a Blanche du Bois party piece, a steely self respect under the vaudevillian tartiness.  She is all peroxide hair and trowel-applied mascara, she looks like a permanent two o’clock in the morning.  When interviewing van Wetter, Charlotte takes off her underwear and rubs herself, the men in the room look hypocritically embarrassed.  In another scene Jack is stung by a jellyfish and the only cure is a urine shower on his skin which he gets from Charlotte.  Ward is gay and gets beaten up by thugs and the movie sinks even deeper into a hungover lassitude.  It’s all blood sweat and tropical steaminess.  The revolting van Wetter is a homicidal animal, you wouldn’t imagine Truman Capote wasting much time on this guy.  Van Wetter’s folk are jungle denizens.  An alligator carcass hangs in the sun and van Wetter rips into the reptile like a feral hunter in some primeval blood rite.  I’m a big fan of David Janssen’s 1960s series The Fugitive (in which a wrongfully convicted doctor is on the run) and I kept wondering which of these characters would have betrayed him and which would have helped.  Jack’s family would doubtless have grassed him up, they are trip wire white supremists,  gargoyle ugly, and ever alert to insubordination.  It’s like a pastiche of TV characters from 60s programmes: the newly confident black person, the sassy peroxide blonde, the alcoholic wife, the irritable confused kid, the always decent older brother, the pantomime murderer, the redneck racist police.  Their resentment lacks focus, it lashes about looking for weak spots in a potential victim.  Ward is the decent character who will write about all this.  This is not supposed to be as good as the novel but I found it enjoyable even if it felt like too long in a sauna.


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Posted by on May 16, 2013 in At the cinema, Film Reviews


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