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Rob Edelman: Selma, Alabama

SELMA, directed by Ava DuVernay, is a powerful new film which chronicles one of the key civil rights-related events of the mid-1960s: the Martin Luther King-led voting rights march from Selma to Montgomery, Alabama. Make no mistake: SELMA is no by-the-numbers biopic. It tells its story with a freshness and immediacy that is, well, astounding. Plus, the onscreen Dr. King is no mere figurehead. The iconic civil rights leader, as superbly played by David Oyelowo, is deeply human-- and Oyelowo’s three-dimensional portrayal is essential to making SELMA a stellar cinematic experience.

SELMA is a must-see, and not just because it is a fine film. It brings into focus a slice of American history that ought to be remembered and discussed. However, there is a disturbing aspect to this film, and this has nothing to do with its portrayal of King or its recreation of history.

We all are aware of the recent events in Ferguson, Staten Island, Cleveland, and elsewhere, as well as the racial divisiveness that presently is gripping our country. So I have to wonder: Will a film like SELMA serve to open the minds of any of its viewers and unify Americans with different viewpoints? Or will SELMA only play to the already converted? Will someone who has racist inclinations see SELMA, or for that matter 12 YEARS A SLAVE or a Nelson Mandela biopic, and leave the theatre pondering its point of view? Will seeing the film result in a change in attitude on the part of anyone who defines America strictly in terms of black and white?

My sense is that the answer to all these questions is a resounding “no.”

I can think of countless films which date from the late 1940s, and which expose bigotry against African-Americans. This list only begins with PINKY, LOST BOUNDARIES, INTRUDER IN THE DUST, HOME OF THE BRAVE, THE JACKIE ROBINSON STORY, BRIGHT VICTORY, NO WAY OUT... Then there are films like BODY AND SOUL and THE BREAKING POINT, both of which star the great John Garfield, which feature black characters who are the loyal, supportive pals of white characters. Today, there is nothing unusual about onscreen interracial friendship but, back in the late 1940s and early 1950s, the relationships between the characters in BODY AND SOUL and THE BREAKING POINT were new, different, and groundbreaking.

However, what impact did these films have on audiences? Did any of them have a cathartic effect on audiences, or did they just play to the already converted? And with regard to anti-Semitism, the same can be said for films like CROSSFIRE and GENTLEMAN’S AGREEMENT. Both date from 1947, and both offer stinging attacks on Jew-hating.

I can cite one film that had a major impact during my formative years, That was TO KILL A MOCKINGBIRD. This classic, from the Harper Lee novel, is one of many films that educated me, that made me think about the world in which I live. The same might be said for such films as ZORBA THE GREEK, THE PAWNBROKER, and ROOM AT THE TOP.

But that is just me. And while I can admire a film like SELMA-- and I fervently believe that it is a film that needs to be made, and that should be made-- I really have to wonder if, ultimately, it only will appeal to the already-converted.

Rob Edelman teaches film history at the University at Albany. He has written several books on film and television, and is an associate editor of Leonard Maltin’s Movie and Video Guide.

 

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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