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Rob Edelman: Black Life

A number of high-quality, deservedly-acclaimed films that illuminate the lives of black Americans are arriving in movie theaters. They include MOONLIGHT, one of the very best films of the year: an intimate, moving character study about Chiron, a young black male who is an outsider in his world.

We are privy to Chiron’s life from childhood to adulthood, and his quest to answer questions that might be posed by any human being. Those questions only begin with: “Who am I?” “Why am I here?” “Why was I born into this life?” “What is in store for me in this life?” And finally: “At what point do I decide who I want to be?” and “How do I take control of my life?” Plus, adding to Chiron’s issues is the fact that he is not just a black male, but a gay black male. 

One of the strengths of MOONLIGHT is that, refreshingly, it transcends stereotypes. And let me emphasize that you need not be black or gay to connect with this deeply affecting film.

Then there is LOVING, a heartfelt, fact-based drama involving an interracial couple; he is white, and she is black. The year is 1958; the place is Virginia; and the pair, who are the ironically-named Richard and Mildred Loving, are incarcerated for the crime of getting married. 

Now I can screen for my students a film from 1967, which now is a half-century old. That film is GUESS WHO’S COMING TO DINNER, and it involves a black man and white woman who have just met, and have fallen in love, and who wish to marry. The storyline centers on the impact this decision has on both sets of parents.

When I lecture on GUESS WHO’S COMING TO DINNER, I find that some young people who were toddlers when the 20th century segued into the 21st may be wondering: So what is the issue here? For after all, so many of them are the products of mixed marriages. One parent may be black, or Middle Eastern, or Catholic, or whatever, and the other parent may be white, or Asian, or Jewish, or whatever. So their puzzlement over the issue raised in GUESS WHO’S COMING TO DINNER is understandable.

And here is one of the many reasons why I am attracted to a certain kind of film-- and relish discussing a certain kind of film. Beyond their craft, or their entertainment value, films can serve as teaching tools. They can mirror the time in which they were made, which certainly is the case with GUESS WHO’S COMING TO DINNER, or they can mirror a certain historical reality, which certainly is the case with LOVING.

LOVING can be appreciated for its intention, its emotion, and the spot-on performances of its stars, Joel Edgerton and Ruth Negga. But it also serves as a sobering reminder of the controversy that, once upon a time, surrounded mixed-race unions. And perhaps, in some circles, that controversy just may remain to this very day. 

Finally, entering the conversation here is the upcoming Academy Awards race. Now of course, a year ago, oodles of criticism were heaped on the Academy because not one single black actor earned a nomination. This year, there are several more-than-worthy candidates. Fortunately, they are not limited to Nate Parker, the controversial director, writer, and star of THE BIRTH OF A NATION.

One is Ruth Negga, an Ethiopian-born performer who offers a quietly poignant performance as Mildred Loving. Others include a slew of performers in MOONLIGHT, starting with the three actors who play the central character at the various stages of his life. Indeed, if Oscars were handed out for ensemble performances, the MOONLIGHT cast surely would be nominated. And let me also cite writer-director Barry Jenkins, the creator of MOONLIGHT, who is himself deserving of multiple Oscar nominations.

Rob Edelman has authored or edited several dozen books on film, television, and baseball. He has taught film history courses at several universities and his writing has appeared in many newspapers, magazines, and journals. His frequent collaborator is his wife, fellow WAMC film commentator Audrey Kupferberg.

The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.

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