Selma

Once one gets used to the fact that the film of the original events in Selma, Alabama, is more interesting than this fictionalized piece, it starts to become a disappointment. The young man who plays Martin Luther King, Jr., does a decent job, but there is something lacking. When we hear speeches by King, there is a power to his delivery. Something is missing here. While a British actor plays King and he does great with a southern American, his delivery lacks the punch. What makes the movie worthwhile is the portrayal of the marches, all three of them. The first is so graphic in its violence as those marshals block the area on the other side of the bridge. Also missing is lively dialogue among the leaders of the movement. They are so stiff where they should be fighting among each other, expressing their fears and bringing us into the process. Lyndon Johnson is seen as the bad guy (along with, of course, George Wallace), but his portrayal is stilted. Where is that Texas accent. He is so impressed in our minds. There should be more bluster and casual dominance in this figure. While this is a decent rendering of a major event in the development of man's quest for freedom, it falls a bit flat.

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.

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.

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.

Poor Selma. This Oscar season is quite unsatisfying without being able to see Selma live up to its full potential had a proper awards campaign taken place. While I expected it to still do well with the Academy, instead it makes an appearance similar to Pride at the Golden Globes. Sitting (almost) alone in the Picture category representing a minority. At least it seems it'll win Best Song. There's two aspects that sorely deserved a nomination, with all due respect to their peers. One is David Oyelowo's performance as Martin Luther King Jr., who nails his articulate speeches with an arresting passion. Sparks fly in his hands and you can't take your eyes off him. The second is Ava DuVernay's direction, whose delicacy, intelligence, and gravitas shine on screen. I marvel at how she wrote those original speeches yet still demonstrates a remarkable restraint. Selma takes itself deadly seriously, there's not a lick of humour to be found, and any break from documenting its events are often downbeat character moments.

There's a reason - the critics weren't kidding when they said that Selma feels like a mirror to society today with the violence and unrest. It's almost disturbing, but it resonates stronger than I ever expected. The film may be very dry, but every time it starts to lull it grabs you back, often in Oyelowo's hands. The most rousing moments of the film are when people are joining arms to do something together. Bradford Young's cinematography is the aspect that really holds it together. He relishes in the darkness, pushes objects to the edge of the frame, and holds so much tension in the air. At the very least, he makes this film such expertly crafted cinema. However, I would've liked to have seen King withstand a bit more damage. He may be courageous but it's difficult to have a truly compelling protagonist without taking some punches themselves. Perhaps Selma is too broad for its own good. It may not incite a fire in me like the filmmakers have, but I certainly admire the filmmaking. Lots of bright futures in this cast and crew.

8/10