David Oyelowo gives a career propelling and defiant performance as Dr. Martin Luther King, Jr. in director Ava DuVernay’s “Selma”. From the opening scene, in which King is attempting to tie an ascot with the help of his struggling but supportive wife Coretta (Carmen Ejogo) prior to accepting the 1964 Nobel Peace Prize, to the triumphant conclusion, having successfully led the Selma to Montgomery, Alabama March and changed civil rights in America forever, Oyelowo immerses himself into this role. Each of his many speeches, whether mourning the loss of life or rallying his followers and the nation is outstanding. But it’s also in King’s quieter moments where Oyelowo shines.
“Selma” presents Dr. King not as a God-like figure, but as a human being, just like the rest of us. He has flaws, makes mistakes and struggles, at times, with his cause. But above all we see him as a fighter for what he believed was right, particularly in the many scenes in which he goes toe-to-toe with President Lyndon B. Johnson. As LBJ, Tom Wilkinson also gives a nomination-worthy performance as a conflicted, passionate and often unsatisfied leader who isn’t ready to follow King’s “orders”. In one of their confrontations, King and Johnson are standing in the Oval Office, with a portrait of George Washington on the wall directly between them. This framing beautifully symbolizes the historic and meaningful nature of the moment.
Oprah Winfrey, who returned to on-screen acting last year in “Lee Daniels’ The Butler”, is a producer on “Selma” and has a small role as Annie Lee Cooper. Her showcase scene is near the beginning of the film, with Cooper submitting a voter registration form and being ridiculously denied. This is the foundation scene from which DuVernay builds the entire narrative. Gaining the right to vote in Alabama and other Southern states would be the only way that black people could end segregation and the violence against them by the whites in power…once and for all.
DuVernay bravely depicts the tragedies that marred this time in American history, including the 1963 Birmingham church bombing that killed four young schoolgirls, and the numerous beatings and murders that took place during peaceful demonstrations and marches. Some of these scenes are quite violent. All are very effective. There are moments in “Selma” that will shock you, and even the use of slow-motion (a style I’m usually not fond of) works during some of these sequences, allowing the impact to take hold.
“Selma” only has a few minor problems. The second half, at times, is not as consistently powerful as the first, at least until the final 10 minutes. This may have something to do with Oyelowo not being present on screen as much during this time, as other characters are introduced into the conflict, including Alabama Gov. George Wallace. Tim Roth’s performance is simply one-note. And the casting of the all-too recognizable Cuba Gooding Jr. and Martin Sheen as a lawyer and judge, respectively, takes you, briefly, out of the moment.
Overall, “Selma” is one of the best films of the year, with an emotional force few 2014 movies could match. I won’t be surprised if closing credits song, “Glory”, performed by John Legend and Common, sweeps this category throughout Awards Season. It perfectly represents everything “Selma” stands for. While some of King’s visions were achieved during his lifetime (others coming after his assassination in 1968), current events are proving that there is still work to be done. As the lyrics say: “One day, when the Glory comes, it will be ours”. Hopefully that day is coming soon.
On The Official LCJ Report Card, “Selma” gets an A-.
Running Time: 128 min.