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“Loving” is that rare mainstream film that provokes frustration and rage without resorting to monologues or melodrama. This achievement was accomplished by director Jeff Nichols. The two protagonists at the heart of this historical drama are not the type to deliver winding monologues. Because they fell in love, got married, and started a family, they found themselves at the center of one of the most significant cases heard by the Supreme Court during the 1960s. These folks are reserved, conservative, and almost reticent in nature. The approach that Nichols takes is cautious, reserved, and shows a high level of consideration for the human story that he is attempting to tell. There is no feeling of exploitation taking place here; if anything, he is almost too reverent in his unwillingness to show any faults in the subject. When telling the story of two private people whose life was brought into the public eye, one can feel the understandable trepidation that the director is experiencing. The amount of trust that Nichols has in his two leads, as well as what they give him in return for that trust, is what Nichols considers to be the most essential component of his vision.
Richard Loving (Joel Edgerton), a reserved mechanic and construction worker, married his pregnant girlfriend Mildred, played by Viola Davis, in the state of Virginia in the year 1958. (Ruth Negga). The couple traveled to Washington, District of Columbia, to have their marriage legally recognized. While there, Richard made the purchase of an acre of land close to Mildred’s family home, where he intended to eventually construct a home. They had high expectations that Richard’s mother would be the one to give birth to their first child, and that they would enjoy a quiet life in a picturesque rural setting.
Things began to turn out differently in the middle of the night. Officers broke into their home and arrested both Richard and Mildred, claiming that their marriage license was invalid in the state of Virginia and that they had violated anti-miscegenation laws that stated that mixed-race couples were a violation punishable by jail time. The officers stated that their marriage license was invalid in Virginia and that they had violated these laws by marrying each other. The Lovings were granted their freedom, but only on the condition that they leave the state of Virginia and do not come back for the next quarter of a century. This was made possible thanks to the assistance of a local attorney named Bill Camp. They were forced to part with their families, their land, the home that they had envisioned building for themselves, and the future that they had envisioned for themselves. It became possible, as the world changed as a result of the growth of the civil rights movement, to make use of the Lovings’ case in order to finally get rid of the racist laws that were still destroying people’s lives in some parts of the country.
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Nichols’ filmmaking has a textured, lived-in quality that is immediately apparent in the first few scenes of the movie. People are always engaged in some sort of activity that requires them to use their hands, such as cleaning a kitchen, laying brick for a house, or working on a car. The sound of crickets chirping and the sweltering heat of a Virginia summer are just two examples of the things that are always present in the atmosphere. There is not the slightest hint of a backlot here. People are going to ignore how beautifully detailed the production design and direction are because they are so good at what they do. Every aspect, including the Loving home, the automobiles he works on, the jail cells in which they spend the night, etc., has been thoughtfully considered but is not brought into the spotlight an excessive amount. It is an excellent illustration of how to make use of time and place in a movie without calling attention to it, which is something that a lot of movies released around award season tend to do. There is nothing exciting to see here.
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And that aesthetic of filmmaking applies not only to the performances but also to the fact that they are two of the best acting turns that you will see this year. Edgerton has always been a fascinating actor, but he has never been better than he is in this role. This is especially true when one considers the fact that the burden of his situation almost appears to be physically pressing him down. His eyes are bloodshot, and his posture is hunched over from the combination of strenuous work and anxiety regarding the health of his wife and family. Richard Loving was forced to continue living in constant fear as the Loving case gained more public attention, and he came to the realization that his family might be safer without him there if he simply abandoned them. The oppressive, every minute of every day atmosphere that is created as a result of racism’s impact has rarely been captured as effectively as it is here. It is unavoidable, much like the haze that hangs in the air or the sound of crickets in the evening.
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The movie is arguably Ruth Negga’s, despite Edgerton’s phenomenal performance in it. Her eyes, which could convey an entire inner monologue with just a simple downward glance or adoring look at her husband, are what I will remember most about her. There is a scene in which Mildred receives some unexpected and uplifting news via a phone call, and Nichols is aware of two things during this time. First, he is aware that he ought not to address Mildred with an exclamation or a monologue. Two, he is aware that he must always keep Negga’s face in view. Her eyes convey a great deal more information than any possible words could in this predicament. Nichols is a gifted filmmaker because he is someone who understands how to use the tools at his disposal in ways other than simply writing expository dialogue, and this demonstrates his gifts. Every day, we go to the movies and watch scenes in which characters openly express how they are feeling and what they want in ways that do not reflect the human experience. And yet, there is more reflection on what it means to be a human being in Negga’s eyes than there is in anything else on film that I have seen in a very long time. It is a complicated, understated, and hushed performance that derives its power from the believability of the character more so than the showiness that we’ve come to anticipate in films like this one.
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There aren’t many unexpected turns or twists in “Loving.” Due to the fact that it is a relatively straightforward drama, there is a good chance that some viewers will find it lacking in terms of spectacle. Despite this, it has a sense of urgency and relevance to the drama of today. Why do some movies that take place fifty years ago feel like they are teaching history, while others feel like they are essential to not only the 1960s but also the 2010s? Because the story of Richard and Mildred Loving is based on real events and contains elements of truth. People who only want to be allowed to start a family have always had and will continue to have a universal desire that will never go out of style. And in order to convey that timelessness in a way that is authentic feeling, it takes an incredibly talented trio of people like Nichols, Negga, and Edgerton. After watching “Loving,” one does not have the impression that they have spent their time being led on by melodrama or awards bait. One can develop an appreciation for a story that has been told well and for the fact that one has been given a brief glimpse into the lives of Richard and Mildred Loving, two individuals who changed the country simply by falling in love.
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On September 9, 2016, during the Toronto International Film Festival, the first version of this review was initially published.
For more personality quizzes check this: The Wild Life Quiz.
