This film has already generated much interest and nominations for a number of prestigious awards. However, a major Oscar was not one of the Awards that it actually won. The Hollywood Academy is not noted for its critical acumen, but this year’s major awards really do ‘take the biscuit’. Do people really think that Birdman is a better film, has a better director and has better cinematography? Of the major award nominees Selma is the best film that I have seen, apart from Ida in the Best Foreign Language Category. It may sound banal but maybe the members of the Academy felt that honouring 12 Years a Slave last year sufficed. Perhaps more tellingly, the only Oscar awarded to Selma was for Best Song ‘Glory’. It would seem that the US discourse around “race”, ethnicity and colour still suffers stereotypes such as African-Americans only make good entertainers and sports people!
Revisiting on film the Civil Rights movement in the USA of the 1950s and 1960s is like revisiting the European holocaust or some of the brutal events of colonial and neo-colonial history – always something of a shock. The sheer violence and viciousness of the system of oppression and apartheid turns out to be even more extreme than one thought. Here the story is the organising of a march by the Southern Christian Leadership Conference from Selma to Montgomery, Alabama in order to pressurise President Johnson to pass a Voting Rights Act. One aspect of the film is a portrait of both the public and private figure of Dr. Martin Luther King. But it is also a portrait of an important group of black leaders in the Civil Rights Movement: of some key individuals involved in that struggle: and of other key political figures involved in these events which occurred in 1965. The film presents and dramatises the conflicts between King’s public and private life: the tensions and conflicts in the black civil rights movement: and the conflicts within the US political establishment between leaders seen as liberal or reactionary.
The film has a striking opening. Dr. King (David Oyelowo) stands in front of a mirror rehearsing a speech: his wife Coretta (Carmen Elogo) helps him adjust his tie/Ascot: Dr King receives the Nobel Peace Prize. As he delivers his speech the film cuts to a Baptist Church in Birmingham, Alabama. A group of children playfully descend a staircase and a violent explosion, killing four young black girls, shatters the calm. The last sequence is shot using noticeable cinematic techniques, which the film then tends to eschew later on. It provides a shocking moment, which of course, was the frequent experience of black people in the South at that time.
The film continues with scenes from private life of Martin and Coretta. We see the preparations by black leaders for the march, including some dissension and arguments. Cameos of ordinary black characters fill out the actual experience of the day to day for the black population. And there are high level meetings between President Johnson (Tom Wilkinson) and Dr. King and his colleagues. One effective technique is the use of onscreen Teletype titles, which record the spying by the FBI on Dr. King and his colleagues. We also get a brief glimpse of Edgar J. Hoover.
The early parts of the film tend to the low key, with limited musical accompaniment. Church meetings, where Dr. King’s charisma electrifies and galvanises the ordinary black population, punctuate the plot.
When the film reaches the actual march the drama and the onscreen violence increase dramatically. And the musical accompaniment moves up several notches. This is the mode of the melodrama of protest, and the film very effectively uses those conventions to draw the audience and their sympathies to the courageous black marchers. Somewhat unusually in this genre, though the film ends with the torch of the struggle for Civil Rights carried forward, it does also close with an identifiable victory, the passage of the historic Voting Rights Acts. On screen titles chart the course of the central characters: the continuation of white-on-black violence: but also the effect of the right to vote for black citizens.
Whilst in this sense the film is agitational it also addresses more complex matters. So the speeches and discussions by the black leaders gradually impart to the audience the actual mechanics of the racist denial of voting rights. The politics and political manoeuvring are also apparent: and the film delineates the actuality of Non-violent protest in an extremely effective manner. The meetings with Johnson demonstrate how this ‘liberal’ politician was actually driven [like F.D.R.] by popular and organised pressure to effect the historic legislation of his Presidency. And the range of attitudes and prejudices within the political establishment are well aired. What the film does not essay, perhaps understandably given its intent, is an attempt to understand the basis of white prejudice in the way that it explores black resistance.
If the Academy’s Best Picture Award is for a film that has the highest quality in every department, [and is invariably an English language film], then I cannot think of a better candidate than Selma. Indeed, it is worthy of an Oscar in several other categories. It is beautifully produced, has an intelligent but highly dramatic approach to its subject, and this itself is an important topic and not just in the USA. I have seen the film twice now, on both occasions there were good-sized audiences who were clearly impressed by the film – you can tell by how many and for how long the audience sit through the final credit sequence.
The film is obviously well scripted, by British Paul Webb. However, in an interview in Sight & Sound (March 2015), the director Ava DuVernay explained how she had rewritten and added to the script. This was cleanly a substantial addition though she does not seem to have an onscreen credit, [she does get ‘a film by ..’]. Judging by her comments she added considerably to both the intelligent and dramatic treatment of the subject. And whilst the film is serious it has its lighter moments. At one point Mahalia Jackson renders a spiritual down the telephone to hearten Dr. King. And when activists preparing for the final march hear that some Hollywood black stars are coming to join them they break into a chorus of De.e.o.o.o.o. The film is also conscious on the issue of gender – at mealtimes and in other ways. When Malcom X appears to the chagrin of the black male leaders, Coretta King is deputised to meet and talk with him.
In addition to this DuVernay has ably marshalled a sizeable production team, all of whom should be commended for their inputs. The acting in the film has been duly praised and honoured. David Oyelowo has been singled out deservedly. Ironically along with two other fine performers, Tom Wilkinson and Tim Roth, we have a key ‘American film’ where major characters are performed by British actors. Carmen Elogo is excellent and so are the many performers working as colleagues of King. And the cameos are finely drawn with Ofrah Winfrey offering one as activist Annie Lee Cooper. White characters do tend to the stereotypical [excepting Johnson and Wallace], but that too is in line with the intent of the film.
The cinematography by Bradford Young is excellent. At times mid-shots and close-ups takes us into the personal drama. But longer shots and dramatic overhead shots accompany the action sequences. What struck me especially on the second viewing is the use of lighting. In an early speech Dr. King tells the congregation that they must stand up ‘in the daylight’. This becomes a theme in the film, as the lighting develops a pattern of light and shadow, reaching its culmination at the final rally in Montgomery. Just to highlight one scene. At a moment of doubt in the campaign King has a conversation with a young activist, John Lewis (Stephan James), in a car: whilst they are partly in darkness, as the conversation develops the light falls increasingly on King’s face.
The film was mainly shot on location. There is a very effective recreation of the period both in settings and costumes. And there are nice touches that set off the subject. There is King and Johnston arguing beneath a portrait of George Washington. Then we see a Southern style meal eagerly despatched by the black leadership, waited on by a female black activist. Right at the end we see Johnson, with the Stars and Stripes on either side, sitting regally in the Oval office.
And the film has a very effective and well-balanced soundtrack. Whilst the voices and accents seemed to be authentic the dialogue was mainly easy to follow. There is a judicious use of noise, which is amplified for the action sequences. And the music is minimal at times and then reaches effective crescendos at times of action.
The end of the film uses archive footage of the actual march intercut with the film’s recreation. Both are in the 2.39:1 anamorphic ratio – this is not a technique with which I am happy but it seems to work well here. I did have other concerns. It seems that the production could not use King’s actual speeches as they are already copyrighted: though those in the film seemed perfectly in keeping with the King I remember from television and film. The speeches have been copyrighted to Steven Spielberg, who also planned a film on Martin Luther King. I assume that this production requested their use – I would have thought Spielberg could have been satisfied with offering an effective portrait of Abraham Lincoln. Finally the film was shot on 35mm but has been digitally re-mastered for cinema exhibition [and for other formats]. The re-mastering has been done at 2K. I do not think the 2K standard does justice to good quality 35mm. The longer the shot, the greater likelihood of a lack of definition. And given the film’s play with light and shadow the dynamic contrast of 35mm or 4K digital would have served this better. When filmmakers are using 4K for digital film and exhibitors proudly advertise 4K projectors this seems an unacceptably stingy practice by producers and distributors.
Still if you see one Oscar-winning film this year, make it Selma – you will be absorbed, shocked, moved and entertained.
I endorse everything you say about Selma (we can put debates about 4K aside for the moment). I haven’t seen the other American films that were nominated for Oscars but this should certainly have been a contender. I’ve read several American commentaries and comments on blogs and it is distressing to see how the film has been attacked – and in particular the director Ava DuVernay. I think the film is ‘conventional’ but that needn’t be a criticism when it delivers such a powerful statement using traditional techniques. Wikipedia identifies criticism of Oprah Winfrey’s ‘political conservatism’ as one aspect of the film’s negative reception by some African-American commentators.
Just a couple of observations. I hadn’t realised just how much of a UK production this was. As well as the three lead roles and the original scriptwriter we can add producer Christian Colson and his Celador company as originators of the project and I hadn’t realised that Carmen Ejogo was also British. It says a great deal about the UK and the US that it takes Black British actors who find it hard to find appropriate work in the UK to then play such significant roles in an American story. Selma is relatively low budget ($20 million) film, an ‘independent production’ not originally supported by a studio. The fact that Spielberg has the rights to the speeches is also interesting. There is a great deal to study here.
The song you refer to is The Banana Boat Song with the line ‘Day-O’ which the marchers sing when Harry Belafonte announces that he is bringing Hollywood stars. We see Belafonte, Tony Bennett and Sammy Davis Jr. in the newsreel I think. Did you spot any others? This incident is also presented in the Harry Belafonte documentary a few years ago.