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“If we don’t tell our own stories, no one will,” the director Mira Nair said as she introduced her crowd-pleasing film “Queen of Katwe” on Saturday night at the Toronto International Film Festival. “If we don’t tell our own stories, no one will,” is the motto of the film school that Nair founded in Uganda, where she currently resides. It is this sense of ownership and authorship that permeates “Queen of Katwe,” which elevates the film above the typical feel-good biopic and enables its message to feel not only inspirational but also authentic. The life of Phiona Mutesi is fascinating in and of itself, but what might have been a drawn-out version of the series “30 for 30” is instead something that feels lived-in, compassionate, and authentic. It is very helpful to have not only Nair’s obvious love for her country guiding every decision, but also David Oyelowo and Lupita Nyong’o’s amazing depth to help ground it from most of its sentimental clichés. Both of these factors contribute greatly to the film’s success. The dialogue in the third and final act occasionally comes across as insincere and manipulative, but the fact that it has been so believable up until that point makes those scenes stand out more.
Phiona Mutesi, a young lady who lives in the slum of Katwe in Kampala, Uganda, is portrayed by Madina Nalwanga, a newcomer who is nuanced and subtle. Phiona Mutesi is 10 years old. She has almost no possessions, she is illiterate, and she sells maize on the street to try to make a living for her family, which consists of two brothers, a sister, and her feisty mother Harriet (Nyong’o). Her family is struggling to make ends meet. When Phiona and her older brother Brian (Martin Kabanza) run into the head of the local sports ministry, Robert Katende, they strike up a conversation (Oyelowo). Since he is aware that the children from the slums he is working with are not going to be able to compete at football, he makes the decision to instruct them in the art of chess, which he mastered at a young age. The issues of class, education, and income are all treated on an equal footing in this game. It is possible for anyone in the world to play it, and Katende quickly realizes that this young girl from Katwe possesses a unique talent, particularly when she begins to beat him at the game.
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It is to be expected that the education segments of “Queen of Katwe” will include a number of references to how the game reflects Phiona’s life, but the execution does not feel in any way forced or manipulative. Nair is self-assured enough in her story and the characters she has created to steer clear of the pitfalls that come with teaching the same thing over and over again. Because of this, we get the impression that Phiona enjoys the act of “Queening,” which occurs when a pawn defies all odds and makes it all the way across the board to become a queen. Instead of hearing it 15 times like we would in a lesser film, we only hear it once. When Katende explains the concept of finding a “safe space” whenever your opponent is on the offensive, it is simple to translate that to Phiona’s real life; however, the movie doesn’t drive the point home very strongly. This subtle touch is somewhat undermined in the final act as issues of Phiona’s success and class conflicts start to tear the family apart in a way that feels manipulative and melodramatic, but Nair recovers by the end of the story. This is a touch that was not subtle at all.
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The presence of David Oyelowo and Lupita Nyong’o is directly responsible for two of the reasons that she is able to pull the movie back from the brink of disaster. The charismatic actor who played the lead role in “Selma” exudes the goodwill of a man who recognized an opportunity for freedom for a young woman and did everything in his power to make it happen. The work that Oyelowo does in this is understated but incredibly consistent. He never gives off the impression that he is working the theme of the movie more than the role that he is playing. In contrast to him, Nyong’o is absolutely phenomenal. She has a remarkable capacity for providing context and history. We don’t think Harriet’s role in the story is limited to that of a sounding board for our protagonist or an emotional plot device. She is able to connect with reality thanks to the intense passion that Nyong’o instills in her. And it’s in the not-so-obvious things, such as a glance that conveys fear about the future of her family or the different tones she uses with each of her children. It is important not to overlook how good Nalwanga is here, as he delivers a performance that is both fluid and physical.
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Nair and her technical team capture the streets of Uganda in a way that we haven’t really seen before, certainly not in a Disney film (Nair joked in the introduction that it was the first Disney film set in Africa that doesn’t have a single animal in it). Of course, much of the credit should go back to Nair and her team. The film “Queen of Katwe” is the result of a collaborative effort on the part of its director, Mira Nair, as well as the costume designer who works with her, as well as the acclaimed cinematographer Sean Bobbitt (“12 Years a Slave”), who fluidly captures a part of the world that makes it feel particular. It is made abundantly clear in “Queen of Katwe” that we are unable to successfully tell “our stories” on our own through the collaborative efforts of Nalwanga, Nair, Nyong’o, Oyelowo, and Bobbitt, amongst many others. We need people who are this talented working together toward a common goal in order for them to have any impact. It is extremely unlikely that Phiona Mutesi ever imagined that a Disney movie would be based on her life at some point in the future. But she undoubtedly realized that life is full of unexpected turns and twists. When it comes to pleasant surprises in a motion picture, “Queen of Katwe” is an excellent choice.
For more personality quizzes check this: Meet The Blacks Quiz.
