Harriet (B- or 2.5/4 stars)
Directed by Kasi Lemmons (of 1997's Eve's Bayou), 'Harriet' tells an inspirational, crowd-pleasing historical drama. One of the most heroic figures on the 19th century abolitionist movement, famed conductor on the Underground Railroad {consisting of abolitionists, Quakers & ex-slaves}, & the 1st black woman to lead a Union Army raid during the Civil War ... Harriet Tubman has long deserved major motion picture treatment. By blending fact, myth & made-up material, Lemmons weaves an engaging tale but, despite strong performances, awkward narrative choices & conventional storytelling techniques impeded my appreciation of the film.
In 1849, when Maryland plantation owner Edward Brodess denies Araminta "Minty" Ross (Cynthia Erivo) & her enslaved family the freedom they were rightfully owed under the Will of his great-grandfather, she decides to run away, particularly since her loving husband, John Tubman (Zachary Momoh), is already a free man. Sensing trouble on the horizon, Brodess' abusive son Gideon (Joe Alwyn) puts Minty up for sale, which makes her flee quickly, aided by Rev. Green (Vondie Curtis Hall) whose church serves as a hide-out. Devout Minty suffers incapacitating fainting spells which she believes are divine visions from God. God speaks to her. And upon leaving, she tells her father (an affecting Clarke Peters): "I'm going to be free ... or die".
Amazingly, courageous Minty makes the arduous 100 mile journey north, navigating by the stars through swamps & woods to Philadelphia, where she is welcomed by Anti-Slavery Society abolitionist, William Still (Leslie Odom Jr.). He encourages her to choose a freedom name & introduces her to Marie Buchanon (Janelle Monae), an educated, free-born black woman who offers her a job. Now known as Harriet Tubman, she is determined to head back to Maryland to rescue her husband & folks. Although shocks & disappointments awaits, Harriet makes this harrowing Underground Railroad trip so often to rescue loved ones & strangers to freedom that she acquires the nickname 'Moses', eluding bounty-hunters & mercenaries along the way.
Audiences are eating this film up. It is inspiring & easy to watch. It's well shot (John Toll's beautiful cinematography). Tubman deserves this big screen treatment. And Cynthia Erivo gives a tenacious performance. But the filmmakers' insistence on consecrating Harriet makes this already powerful film unnecessarily melodramatic and, at times, bizarre, due to some of the creative licenses & choices they made. The story is important. And the cast - aside from the decision to cast singer Jennifer Nettles as over-the-top racist Eliza Brodess - is wonderful. But the film falters in its facile, poorly envisioned exploration of Tubman's medical condition -- portraying her traumatic brain injury as leading to actual divine foresight.
According to this film, the fainting spells made her see the future and be able to skirt danger that was coming up upon her. Whenever it was dramatically convenient, her divine interventions manifested. To me, that is just BOGUS. It's a dramatic crutch; and that harms the film's dignity in honoring this amazing woman. True, Tubman did believe in her Godly 'visions', but the movie's acute focus on this supernatural/clairvoyance element that presents her as nearly invincible irked me to no end; the focus should've been on her clarity of purpose, bravery & DETAILED mechanics of how the Underground Railroad worked -- and we really didn't get that. Those copious supernatural scenes undercut the inherent power of this film.
I mentioned Erivo's commanding portrayal above. She's solid. But for some reason, her performance didn't soar, for me. A superb singer & Broadway performer who is foraying into the world of film, there's something about Erivo's unblinking, undaunted eye stare that takes me out of her early performances that I've seen. For as skilled a thespian as she is, I think she lacks the needed soulfulness that a portrayal such a Harriet Tubman requires.
Another issue I have with this film: a concocted villain. Gideon is fashioned as being obsessed with capturing Harriet. The climax pits him vs. her, and this false material feels at odds with the factual elements. And that just showed me that the filmmakers were unsure of just how to tell this amazing woman's story. 2013's 12 Years a Slave offered a more compelling treatment of slavery & the pursuit of liberty; and with deep character motivations & higher stakes, to boot. You know, I respect Harriet Tubman so much. It's clear that the film is resonating with people; I felt it in my screening. It's easy to just sit back and let the film envelop you -- it has that quality. I wanted to be walloped, but was left a touch cold by the plot execution.
In 1849, when Maryland plantation owner Edward Brodess denies Araminta "Minty" Ross (Cynthia Erivo) & her enslaved family the freedom they were rightfully owed under the Will of his great-grandfather, she decides to run away, particularly since her loving husband, John Tubman (Zachary Momoh), is already a free man. Sensing trouble on the horizon, Brodess' abusive son Gideon (Joe Alwyn) puts Minty up for sale, which makes her flee quickly, aided by Rev. Green (Vondie Curtis Hall) whose church serves as a hide-out. Devout Minty suffers incapacitating fainting spells which she believes are divine visions from God. God speaks to her. And upon leaving, she tells her father (an affecting Clarke Peters): "I'm going to be free ... or die".
Amazingly, courageous Minty makes the arduous 100 mile journey north, navigating by the stars through swamps & woods to Philadelphia, where she is welcomed by Anti-Slavery Society abolitionist, William Still (Leslie Odom Jr.). He encourages her to choose a freedom name & introduces her to Marie Buchanon (Janelle Monae), an educated, free-born black woman who offers her a job. Now known as Harriet Tubman, she is determined to head back to Maryland to rescue her husband & folks. Although shocks & disappointments awaits, Harriet makes this harrowing Underground Railroad trip so often to rescue loved ones & strangers to freedom that she acquires the nickname 'Moses', eluding bounty-hunters & mercenaries along the way.
Audiences are eating this film up. It is inspiring & easy to watch. It's well shot (John Toll's beautiful cinematography). Tubman deserves this big screen treatment. And Cynthia Erivo gives a tenacious performance. But the filmmakers' insistence on consecrating Harriet makes this already powerful film unnecessarily melodramatic and, at times, bizarre, due to some of the creative licenses & choices they made. The story is important. And the cast - aside from the decision to cast singer Jennifer Nettles as over-the-top racist Eliza Brodess - is wonderful. But the film falters in its facile, poorly envisioned exploration of Tubman's medical condition -- portraying her traumatic brain injury as leading to actual divine foresight.
According to this film, the fainting spells made her see the future and be able to skirt danger that was coming up upon her. Whenever it was dramatically convenient, her divine interventions manifested. To me, that is just BOGUS. It's a dramatic crutch; and that harms the film's dignity in honoring this amazing woman. True, Tubman did believe in her Godly 'visions', but the movie's acute focus on this supernatural/clairvoyance element that presents her as nearly invincible irked me to no end; the focus should've been on her clarity of purpose, bravery & DETAILED mechanics of how the Underground Railroad worked -- and we really didn't get that. Those copious supernatural scenes undercut the inherent power of this film.
I mentioned Erivo's commanding portrayal above. She's solid. But for some reason, her performance didn't soar, for me. A superb singer & Broadway performer who is foraying into the world of film, there's something about Erivo's unblinking, undaunted eye stare that takes me out of her early performances that I've seen. For as skilled a thespian as she is, I think she lacks the needed soulfulness that a portrayal such a Harriet Tubman requires.
Another issue I have with this film: a concocted villain. Gideon is fashioned as being obsessed with capturing Harriet. The climax pits him vs. her, and this false material feels at odds with the factual elements. And that just showed me that the filmmakers were unsure of just how to tell this amazing woman's story. 2013's 12 Years a Slave offered a more compelling treatment of slavery & the pursuit of liberty; and with deep character motivations & higher stakes, to boot. You know, I respect Harriet Tubman so much. It's clear that the film is resonating with people; I felt it in my screening. It's easy to just sit back and let the film envelop you -- it has that quality. I wanted to be walloped, but was left a touch cold by the plot execution.