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In an ideal world, “Selma” would exist solely as a depiction of darker days that have long since passed, an American history lesson that concludes with assurances that its horrors will no longer be perpetrated, tolerated, or celebrated. This would be the case if the world were perfect. On this temporary and earthly plane, it is impossible for us to achieve perfection; the film “Selma” depicts the progression of change while shining a light on the stagnant development of that which has not changed. Because of how timely it is, it serves as a chilling reminder that people who are ignorant of their past are destined to repeat its mistakes. The events that took place in its narrative serve as a road map, not only of the past, but also of the future.
The director Ava DuVernay chose to call her movie “Selma” rather than “King” for a specific reason. As was the case with Steven Spielberg’s “Lincoln,” the focus of “Selma” is not so much on the chief negotiator of the resulting deals as it is on the political maneuvering, in-fighting, and bargaining that led up to those deals. The film “Selma” gives the Reverend Dr. Martin Luther King Jr. the same human qualities of humor, frustration, and exhaustion that the film “Lincoln” gave its President. King’s actions and efforts are elevated because of the relatable humanity he possesses. It is motivational because it implies that the reverence accorded to Dr. King was bestowed on a person who was not dissimilar to any of us. If he is able to instigate change, then we have no reason not to do the same.
David Oyelowo is a revelation in the role of the King. In the same way that Anthony Hopkins did in the movie “Nixon,” he gives a performance that is more about channeling the spirit of his character than giving a literal interpretation of it. Oyelowo’s recreation of Martin Luther King Jr.’s speaking voice does not include any of the preacherly curlicues that one might be tempted to use after hearing King’s speeches. Oyelowo saves those cadences for his speech scenes, like any good pastor should, and the final one is so stirring and powerful that it knocks the air out of your lungs. Oyelowo channels a conflicted King, a tired man who is carrying the weight of the movement on his shoulders, and combines that with defiance, humor, strength, and strategic expertise in the performance. Oyelowo gives an outstanding performance as Martin Luther King, turning him into a complicated and flawed man whose faith in God kept him from falling into complete and utter despair.
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DuVernay has established a reputation as a director who excels at creating small, personal moments with her excellent independent dramas “I Will Follow” and “Middle of Nowhere.” The film “Selma” never takes its eye off the interpersonal dynamics that exist between Martin Luther King Jr., his family, his supporters, and his opponents. DuVernay gives memorable scenes to a wide variety of character actors in real-life roles, while also providing background information on the Student Nonviolent Coordinating Committee (SNCC), the Student Civil Liberties Movement (SCLC), and the organization of the Selma to Montgomery Marches. The performances of Andre Holland as Andrew Young, Stephan James as John Lewis, Colman Domingo as Rev. Abernathy, and Common as James Bevel stand out, but viewers who pay close attention will also spot Tessa Thompson, Cuba Gooding Jr., Martin Sheen, and Wendell Pierce in “Dear White People.” Even the comedian Niecy Nash makes an appearance as a hospitable and hilarious host who welcomes King and his associates into her home.
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In “Selma,” Ava DuVernay continues her examination of the empowerment of women by devoting some of the film’s running time to Martin Luther King Jr.’s marriage to Coretta Scott King (a powerful Carmen Ejogo). It is brought to our attention that the movement is just as challenging for her as it is for her husband, particularly because she stays at home with the children and is the constant target of harassment from both the citizens and the government. One of the most compelling moments in the movie is when King’s wife confronts him with a challenging question. The director and the actors take their time with this scene, with Oyelowo and Ejogo excelling in their ability to work the awkward pause between the question and the answer while remaining completely silent. Coretta Scott King has a meeting with Malcolm X (a convincing performance by Nigel Thatch), and the conversation they have is an informative piece of strategizing. This is another excellent scene.
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DuVernay not only serves as a reminder to us of how skilled she is with drama, but she also serves as a warning to Hollywood by mastering large sequences that have not been seen in her previous work. Her production of “Bloody Sunday” on the Edmund Pettis bridge is such a spectacular mini-movie that it could easily function as a short film on its own. The scene takes on the characteristics of a documentary as it is narrated by a journalist who is calling in the story. DuVernay and her editor, Spencer Averick, are able to make you feel the intensity and chaotic terror of the violence through the use of this scene as well as their horrifying staging of the bombing at the 16th Street Baptist Church. The juxtaposition between the historical depiction on the movie screen and the current images on the TV screens of today is striking, and it does not go unnoticed by viewers. Dozens of peaceful protesters kneeling the entire length of the screen fill the entire screen.
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During the struggle for the right to vote, Martin Luther King Jr. has multiple meetings with President Lyndon B. Johnson (a jarring but effective Tom Wilkinson). Their scenes, as well as Johnson’s scenes with J. Edgar Hoover (played by Dylan Baker), center on the political maneuvering that is necessary in order to bring about change. The movie “Selma” demonstrates how easily the hearts and minds of the American people can be manipulated, as well as the role that the media plays in shaping those hearts and minds. King is aware of this media power, and the manner in which his team handles it is a precursor to the shenanigans that occur on social media today.
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The film “Selma” could not have been released at such a prescient moment on purpose. It begins with a scene that serves as a casual reminder of what life was like before the Voting Rights Act, when absurd literacy tests and poll taxes were used to suppress the vote of African Americans. Oprah Winfrey, who plays Miss Sofia and is also the show’s producer, makes an appearance in the first scene as a woman who is making her fourth trip to the voting bureau to take the test that will give her a right that she has always had. Winfrey takes on the appearance of a common person, and the gradual disappointment on her face as she realizes that she will be turned down once more serves as both a warning and a heartbreaking revelation.
The credit for “Selma’s” ability to function as both an epic and a small-scale drama should be given to Bradford Young, who has worked as DuVernay’s longtime cinematographer. The camera that Young uses adores black skin, and he lights it in a way that is both beautiful and fearless. The likes of Gordon Willis’ flourishes have never been seen before in the movies produced in Hollywood. His ingenious and unexpected flourishes of style can be seen throughout the action sequences. The fact that there hasn’t been more discussion about his work (he also shot “Ain’t Them Bodies Saints”) is something of a travesty, and “Selma” has the potential to rectify this situation.
This is a deeply moving film with the intention of upsetting, depressing, and motivating viewers all at once, sometimes within the same scene. “Selma” does not hold back and, despite the fact that it welcomes moviegoers of all different backgrounds, it does not intend to sugarcoat the horrors that it depicts for the sake of political correctness. This film, which is widely considered to be among the best of the year, serves as an introduction to a major new talent in the form of Ms. DuVernay; however, the film’s essential message will not be obscured by the acclaim it garners. In spite of all the commotion, “Selma” manages to get its message across to us: once you reach the summit of the hill of progress, it is just as simple to roll backwards as it is to climb higher. It is imperative that attention be paid.
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