Much more than a standard biopic, Selma instead acts as an authentic snapshot of one of the most iniquitous periods in human history. A highly-emotive and strikingly powerful drama that will no doubt act as the start of something special for both its star and director...
When Robert F. Kennedy addressed the massed crowd in Indiana on April 4th 1968 to inform them of the assassination of Martin Luther King, it was against the express advice of both the police and his own advisors. Kennedy, a white politician, was seeking to communicate to a mainly black audience, in the heart of the African-American ghetto, that their ‘leader’ had been slain.
Despite the fear of riots and untold unrest to match that which had greeted this same news all across America, Kennedy eulogised from the heart when he stated that “In these difficult times for the United States, it’s perhaps well to ask what kind of a nation we are and what direction we want to move in” before going on to outline the two paths available to the country and its people. One path leading to hatred, greater polarisation and more violence; whilst the other toward understanding, compassion and love.
It is this central premise, and the notion of choosing between conflicting paths - conflicting directions - which sits at the heart of Ava DuVernay's powerful drama.
Unlike most accounts of the civil rights era, Selma chooses not to focus on the passing of the Civil Rights Act itself in 1964 but rather on the aftermath and the struggle to have the rights implemented correctly throughout the United States. DuVernay centres on King's troubled ’65 campaign to secure equal voting rights for the black community - culminating in the historic five day protest march from Selma, Alabama to the state capitol in Montgomery.
Faced not only with violence and racial hatred at every turn, King (David Oyelowo) is also forced to deal with a desperate President, an inherently segregationist Governor, a plainly racist sheriff and the various factions that form within his own movement as tensions rise and tempers fray. All of these elements allow DuVernay to shine the spotlight on King as a man in conflict and at odds with himself - struggling to walk the path of peace when so many about him want to fight fire with fire. Selma is the story of King’s internal struggle to balance violent activism with peaceful protest whilst also attempting to make the progress necessary for the civil rights movement he represents.
In his first leading role, Oyelowo is simply astounding. Whilst there are numerous rousing and impassioned public speeches that showcase his ability to capture the side of King that we will be most familiar with, it is the quieter, personal scenes - in which he convincingly portrays a man in constant turmoil and doubt - that really impress. The scenes that depict King’s weaknesses are Oyelowo’s greatest strengths.
With an authority that belays his previous lack of leading-man experience, Oyelowo plays not a legend, a myth or a hero - but instead, he quite simply plays a man.
A man with flaws, insecurities and doubts and a man who throughout isn’t sure if all the turmoil and bloodshed is worth the fight. King is presented here as someone who is desperately looking for strength and faith and struggling to find it. It is a brave choice by DuVernay to focus on King’s flaws as well as his better-known qualities and it is a task that Oyelowo more than grasps in a performance that will no-doubt stick with you long after the films conclusion.
King’s wavering faith and lack of certainty in his actions are best highlighted in a tender scene depicting his incarceration after a peaceful protest has disrupted into violence. Sharing a cell with one of his closest associates, King expresses his exhaustion at the many battles they continue to face when he states with almost resignation that he doesn’t see the point when a “man stands up only to be struck down”. He receives a beautiful call to arms that they must “build the path as we can, rock by rock” which not only gives King extra resolve to continue but once again highlights the central notion of moving forwards, of choosing the right direction and making progress no matter what it is that tries to stop you. Scenes such as this are bread and butter for the Academy panel and it is no surprise that the human spirit’s triumph over adversity narrative that is such a central part of Selma’s DNA, has been met with a coveted Oscar nod for Best Picture.
Despite the film unquestionably belonging to Oyelowo, he is leant credible support by an impressive ensemble of British talent - from Roth’s scenery-chewing turn as the poisonous Alabama Governor George Wallace to Wilkinson’s desperate and irritable President Lyndon B. Johnson. Moving from his role as Kennedy patriarch Joseph P. Kennedy in the HBO mini-series “The Kennedys” Wilkinson puts in an effortless shift to portray the Kennedy’s biggest political nemesis as nothing more than a school-masterly bully thinking only of his appearance at the upcoming election and his desire to have the easiest, quietest conclusion to the unrest as is humanly possible.
However, it is little-known actress Carmen Ejogo - as King’s wife Corretta - who impresses most amongst the supporting players with her portrayal of the courageous, loyal and diligent wife who puts aside her personal anguish at her husband’s infidelities to become the bedrock of support he so desperately needs. With far less screen time and focus, Ejogo manages to match every element of her ‘husbands’ stature and prestige, presenting us with the visual proof that behind every great man there truly is a great woman.
DuVernay weaves a seamless portrait of the public and private lives of one of history’s greatest leaders whilst paying mindful attention to the events that envelope him throughout this particular time in history and - like her leading actor - displays a skill and technical ability that far outstrip her previous experience at this level. In what is only her third major feature - and certainly her first of any real note - DuVernay exhibits a maturity in her direction that is every bit as impressive as her lead actor’s central performance.
In what could so easily have become an exploitation piece, the director’s ability to display restraint and control - particularly in the numerous scenes depicting the aggression, chaos and severe injustice of the protests opposition - is admirable.
There is no moralising or propaganda at work here - rather than using cheap shock tactics and lingering shots of violence and disorder to emphasise the point, DuVernay merely presents the events in a matter-of-fact ‘as it was’ manner which is to her credit as a person and her skill as a director.
DuVernay’s efforts are also helped by what is both an eclectic and emotive soundtrack that simply adds to the drama and tension rather than detracts from it and her use of archive footage, particularly towards the films conclusion, only adds to the emotional weight - reinforcing the notion that this is a presentation of actual events, rather than the grand-standing moral outrage that this film could so easily have turned into. Perhaps the most notable aspect of DuVernay's work here is that she is happy to let the audience decide for themselves and doesn’t seek to force her agenda - or that of Selma’s central characters - onto the audience.
In conclusion, Selma is a touching and inspiring study of human struggle that exhibits a masterly directorial control and features an astounding acting achievement from its lead man in particular. It is both a fascinating insight into one of history’s most celebrated characters and a no-nonsense look at one of the biggest stains of modern American history.
“We are here and we aren’t going to let anyone turn us around” announced King on their illustrious arrival in the state capitol - a message that could so easily be attributed to the film’s director and star on what is their ‘arrival’ onto the big stage of Hollywood. Selma is proof that they have found their own direction and will no doubt ensure that both of them are propelled down a progressive path of their own.
Despite the fear of riots and untold unrest to match that which had greeted this same news all across America, Kennedy eulogised from the heart when he stated that “In these difficult times for the United States, it’s perhaps well to ask what kind of a nation we are and what direction we want to move in” before going on to outline the two paths available to the country and its people. One path leading to hatred, greater polarisation and more violence; whilst the other toward understanding, compassion and love.
It is this central premise, and the notion of choosing between conflicting paths - conflicting directions - which sits at the heart of Ava DuVernay's powerful drama.
Unlike most accounts of the civil rights era, Selma chooses not to focus on the passing of the Civil Rights Act itself in 1964 but rather on the aftermath and the struggle to have the rights implemented correctly throughout the United States. DuVernay centres on King's troubled ’65 campaign to secure equal voting rights for the black community - culminating in the historic five day protest march from Selma, Alabama to the state capitol in Montgomery.
Faced not only with violence and racial hatred at every turn, King (David Oyelowo) is also forced to deal with a desperate President, an inherently segregationist Governor, a plainly racist sheriff and the various factions that form within his own movement as tensions rise and tempers fray. All of these elements allow DuVernay to shine the spotlight on King as a man in conflict and at odds with himself - struggling to walk the path of peace when so many about him want to fight fire with fire. Selma is the story of King’s internal struggle to balance violent activism with peaceful protest whilst also attempting to make the progress necessary for the civil rights movement he represents.
In his first leading role, Oyelowo is simply astounding. Whilst there are numerous rousing and impassioned public speeches that showcase his ability to capture the side of King that we will be most familiar with, it is the quieter, personal scenes - in which he convincingly portrays a man in constant turmoil and doubt - that really impress. The scenes that depict King’s weaknesses are Oyelowo’s greatest strengths.
With an authority that belays his previous lack of leading-man experience, Oyelowo plays not a legend, a myth or a hero - but instead, he quite simply plays a man.
A man with flaws, insecurities and doubts and a man who throughout isn’t sure if all the turmoil and bloodshed is worth the fight. King is presented here as someone who is desperately looking for strength and faith and struggling to find it. It is a brave choice by DuVernay to focus on King’s flaws as well as his better-known qualities and it is a task that Oyelowo more than grasps in a performance that will no-doubt stick with you long after the films conclusion.
King’s wavering faith and lack of certainty in his actions are best highlighted in a tender scene depicting his incarceration after a peaceful protest has disrupted into violence. Sharing a cell with one of his closest associates, King expresses his exhaustion at the many battles they continue to face when he states with almost resignation that he doesn’t see the point when a “man stands up only to be struck down”. He receives a beautiful call to arms that they must “build the path as we can, rock by rock” which not only gives King extra resolve to continue but once again highlights the central notion of moving forwards, of choosing the right direction and making progress no matter what it is that tries to stop you. Scenes such as this are bread and butter for the Academy panel and it is no surprise that the human spirit’s triumph over adversity narrative that is such a central part of Selma’s DNA, has been met with a coveted Oscar nod for Best Picture.
Despite the film unquestionably belonging to Oyelowo, he is leant credible support by an impressive ensemble of British talent - from Roth’s scenery-chewing turn as the poisonous Alabama Governor George Wallace to Wilkinson’s desperate and irritable President Lyndon B. Johnson. Moving from his role as Kennedy patriarch Joseph P. Kennedy in the HBO mini-series “The Kennedys” Wilkinson puts in an effortless shift to portray the Kennedy’s biggest political nemesis as nothing more than a school-masterly bully thinking only of his appearance at the upcoming election and his desire to have the easiest, quietest conclusion to the unrest as is humanly possible.
However, it is little-known actress Carmen Ejogo - as King’s wife Corretta - who impresses most amongst the supporting players with her portrayal of the courageous, loyal and diligent wife who puts aside her personal anguish at her husband’s infidelities to become the bedrock of support he so desperately needs. With far less screen time and focus, Ejogo manages to match every element of her ‘husbands’ stature and prestige, presenting us with the visual proof that behind every great man there truly is a great woman.
DuVernay weaves a seamless portrait of the public and private lives of one of history’s greatest leaders whilst paying mindful attention to the events that envelope him throughout this particular time in history and - like her leading actor - displays a skill and technical ability that far outstrip her previous experience at this level. In what is only her third major feature - and certainly her first of any real note - DuVernay exhibits a maturity in her direction that is every bit as impressive as her lead actor’s central performance.
In what could so easily have become an exploitation piece, the director’s ability to display restraint and control - particularly in the numerous scenes depicting the aggression, chaos and severe injustice of the protests opposition - is admirable.
There is no moralising or propaganda at work here - rather than using cheap shock tactics and lingering shots of violence and disorder to emphasise the point, DuVernay merely presents the events in a matter-of-fact ‘as it was’ manner which is to her credit as a person and her skill as a director.
DuVernay’s efforts are also helped by what is both an eclectic and emotive soundtrack that simply adds to the drama and tension rather than detracts from it and her use of archive footage, particularly towards the films conclusion, only adds to the emotional weight - reinforcing the notion that this is a presentation of actual events, rather than the grand-standing moral outrage that this film could so easily have turned into. Perhaps the most notable aspect of DuVernay's work here is that she is happy to let the audience decide for themselves and doesn’t seek to force her agenda - or that of Selma’s central characters - onto the audience.
In conclusion, Selma is a touching and inspiring study of human struggle that exhibits a masterly directorial control and features an astounding acting achievement from its lead man in particular. It is both a fascinating insight into one of history’s most celebrated characters and a no-nonsense look at one of the biggest stains of modern American history.
“We are here and we aren’t going to let anyone turn us around” announced King on their illustrious arrival in the state capitol - a message that could so easily be attributed to the film’s director and star on what is their ‘arrival’ onto the big stage of Hollywood. Selma is proof that they have found their own direction and will no doubt ensure that both of them are propelled down a progressive path of their own.