Selma - La strada per la libertà

Greetings again from the darkness. Historical dramatizations can be a tricky business, as delivering both truth and entertainment value is quite challenging. There is always an expert quick to point out any artistic license taken at the expense of historical accuracy. Of course, most movie lovers have come to accept that even the best-intentioned Hollywood looks at history will be at least as focused on selling tickets as educating the public. Because of this, the swirling controversies for this film are neither surprising nor overly distracting from its message.

March 7, 1965 is known as Bloody Sunday and marks one of the most despicable moments in U.S. history. It was also a turning point in the Civil Rights Movement and can be viewed as shrewd strategy from Martin Luther King, Jr. and his organization, the Southern Christian Leadership Conference. The movie makes it clear that MLK had a full understanding that Selma, Alabama and it's racist, redneck Sheriff Jim Clark provided the perfect opportunity for a violent reaction to King's demonstrations and protests. It also makes it very clear that there was boundless ignorance, hatred and racism on the part of many southern whites. If the subject matter is somehow not enough to grab your attention, the startling event that occurs 5 minutes in will surely leave you shaken.

The film does an outstanding job of focusing on two pieces of this most complex puzzle: 1. the boots on the ground – the grass roots movement of the people, and 2. the ongoing political debates occurring between MLK and LBJ, between LBJ and his staff, and between MLK and his lieutenants.

The Civil Rights Act had already been passed, so the efforts were in hopes of overcoming the obstacles faced by southern blacks who wished to vote. One of the film's best scenes has activist Annie Lee Cooper (Oprah Winfrey) trying yet again to have her voter registration processed, but being rebuffed by a county clerk through an impossible Q&A session. These intimate moments are where the film excels: Coretta questioning MLK on his love for her, MLK speaking with grandfather of Jimmie Lee Jackson outside the morgue, and MLK turning down the proposal of US Attorney John Doar (Alessandro Nivola).

In an odd twist of casting, four of the leading characters are played by Brits: David Oyelowo as MLK, Tom Wilkinson as LBJ, Tim Roth as George Wallace and Carmen Ejogo as Coretta Scott King. All four are excellent, but it's Mr. Roth as the racist-beyond-belief Alabama Governor Wallace that is the most slitheringly evil, while Mr. Oyelowo gives what can only be described as a towering performance of the man many of us know only from history books and news reels (and a January holiday).

The supporting cast is vast and talented, and because the story spends so much time on the individuals, many of these spend little time on screen. In addition to Andrew Young (Andre Holland), Reverend Hosea Williams (Wendell Pierce), J Edgar Hoover (Dylan Baker), and Lee C White (Giovanni Ribisi), we also see activist Diana Nash (Tessa Thompson), CT Vivian (Corey Reynolds), John Lewis (Stephen James), and Judge Johnson (Martin Sheen). The most bizarre moment has Malcolm X (Nigel Thatch) in a quasi-Mr Rogers depiction as he discussed his new found approach with Coretta.

The original King speeches are owned by another studio so those delivered here by Oyelowo have been re-written and revised, yet the words and Oyelowo's powerful oratory deliver the message loud and clear. While it can be argued that the film delivers only one point of view (the FBI was no friend to the movement), it can just as easily be argued that previous films have done the same thing – only from the "other" perspective (Mississippi Burning, Ghosts of Mississippi).

In what can be viewed as the first serious movie on Martin Luther King, director Ava DuVernay announces her presence with authority. She will have no need to return to her career as a movie publicist, and we will be watching to see what type of projects appeal to her after this. In a brilliant move, the story focuses on a period of just a few months in 1965, rather than tackling the MLK legacy. She presents him as a man with strengths, flaws, doubts, and determination. It's clear why so many followed him, and it's all the more painful to know that so many resisted.

The context is Martin Luther King's mission to get votes for blacks. The film focusses on a peaceful demonstration in Selma, Alabama.

This story is part of a huge moment in American history. A really powerful subject which is thoughtfully dealt with. The lead, David Oyelowo, does a nice job.

There is one moment in the film which is hugely emotional and shows the best of human kindness but otherwise the movie doesn't quite pack the huge emotional punch the topic deserves.

Still very much worth a watch though, the subject matter is fascinating. You will struggle to believe that humans could behave this way, and so recently too.

The words I best describe this movie are "profound" and "intense." From what I've learned since my school days, equal rights among race was a very touchy subject when it came to American history.

David Oyelowo's portrayal of Martin Luther King Jr. was so spot-on that I was immediately drawn in to see every detail of the film play out. I was disturbed and further curious at the same time amongst every scene that unfolded during the key moments of the film.

Basically, it featured how much King sacrificed and went through in the 1960s to maintain blacks rights to vote and eliminate segregation from all states. I couldn't believe how much violent injustice and racial discrimination were used to intimidate innocent people who were trying to have the same rights like many in America.

Oprah Winfrey, Cuba Gooding Jr, and rapper-actor Common brought out great performances as the individuals who stood up for what they truly believe in and they wouldn't let hate stand in their way. Tom Wilkinson's portrayal of President Lyndon B. Johnson was rather physically uncanny and his scenes brought out the angst of what he had to face at a time when violence was further escalating during the Civil Rights Movement. Tim Roth as Governor George Wallace made me feel to hate the man for his segregationist beliefs, but when confronted by President Johnson himself, it just got real.

The juxtaposition of real-life archive footage in the movie gave a nice touch to how very genuine these people of Selma endured plenty of horrible confrontations. Whether these usually ended in violence or even death, they just kept growing in numbers and overcome all who stood against their true beliefs in racial equality.

My only nitpick was that of President Johnson's confrontations with Martin Luther King himself. I've learned in the history books that they've had their fair share of disagreements, but nothing this intense as shown on screen. Nevertheless, it proved that being an American President was no easy feat at a very difficult time. Overall, this is a film that didn't require lengthy (moving) MLK speeches, instead it focused on tense confrontations black people had to endure and how one individual stood tall and fought back not with violence, but with powerful words and strong beliefs. I applaud David Oyelowo and director Ava DuVernay for providing a glimpse into how racism was overcome by one profound man whose legacy still reverberates to this day.

This movie had a great cast, great story, and was very entertaining and well written. David Oyelowo, although a tad inconsistent early on, elevated to another level when he transformed before your eyes to a dynamic and vulnerable Dr. Martin Luther King, JR. Toward the end of the movie, his performance was so strong, if he was not actually shown on the screen, you couldn't tell if if was an old recording of MLK or David Oyelowo himself.

As for the story, yes, it was not "historicly accurate," but it flowed well and Ava DuVernay and Paul Webb did a wonderful job of making it family friendly, which is very hard to do with such a sensitive subject. I would compare it to Disney's "Remember The Titans" on how they changed the story to make it more entertaining and also family friendly.

Overall, I would highly recommend this movie. It did a great job of showing me a bit of the past that was before my time and I am grateful for that experience.

Last year's "Pride" brilliantly demonstrated how far gay rights have come in the UK in 30 years. Selma does an equally superb job in showing how far racial equality has come in the US in 50 years.

The year is 1964 and racial tension is rife in the Southern states, with attacks and murders of black citizens going unpunished by the combination of a white-majority policing and legal system. Enter Martin Luthor King (English actor David Oyelowo) at the point of receiving his Nobel Peace prize. King insists at a Presidential level (with Tom Wilkinson playing Lyndon Johnson) that black citizens be allowed unfettered rights to vote in elections, with the aim of securing a more just and balanced society. Looking for a suitable location to mount a media-led stand, in an age before social networking and 'Arab-Springs', King centres his attention on the Alabama town of Selma, mounting a series of non-violent (at least on their side) protests and marches. The local redneck police chief, Wilson Baker (David Dwyer), and the state governor, George Wallis (Tim Roth), are not going to stand for this and the tinder-box reaches ignition point during a march from Selma to the state capital of Montgomery.

Nominated for the Oscar for Best Picture (but only that in the major awards, so winning chances are probably near-zero), Selma is primarily an excellent example of an ensemble cast that works particularly well together. There are a wealth of outstanding performances: Tom Wilkinson's Lyndon Johnson comes across as a surprisingly sympathetic character (jerking me out of my natural Vietnam-coloured perception of the politician); Oprah Winfrey (also a co-producer) provides a text-book example of acting without acting, her expressions doing all of the work; Dylan Baker (so fantastic in "The Good Wife") is chillingly sinister as J. Edgar Hoover; English-born Carmen Ejogo plays (extremely well) a similar role to Sienna Miller's in "American Sniper" as the wife alienated by her husband's calling; and Giovanni Ribisi ("Saving Private Ryan", "Friends"), Cuba Gooding Jnr and (a bizarrely uncredited) Martin Sheen turn up in great cameo performances.

But towering over all of this great acting is Oyelowo's performance which is simply outstanding: every death and injury is etched on his face. This is a Martin Luthor King that you can really believe in. I would have personally bounced Bradley Cooper in the nomination list for him, and it is astonishing (given his English background) that he was also overlooked at the BAFTAs. He must be feeling pretty aggrieved right now. Mr Oyelowo – if you are reading this – this critic thanks you for an outstanding performance.

As a relative newcomer to direction, at least for a movie of this scale, Ava Duvernay does a great job with some of the action scenes (with particularly the shocking opening to the film showing enormous style). Paul Webb (apparently with this as a screen writing debut – – how on earth did he get THIS job?) does a creditable job, with lots of memorable sound-bites that stick in the mind. Where the film ran into soft mud for me however was in the personal scenes between the married couple: they don't really provide enough insight into the stresses of King's serial adultery, and the plotting becomes slow and dull…. I personally lost interest in most of these scenes and was desperate for the film to get back to the 'action' in Selma.

Also of note is the end title song – "Glory" by John Legend and Common (who also stars in the film) – which is also nominated for an Oscar and won the Golden Globe.

Both gay rights and racial equality undoubtedly still have much further to go, but this does make you proud that as US and UK societies we have come so far within my own lifetime. A recommended watch, particularly for those with an interest in sociology and/or American history.

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