Fruitvale Station

Wow.  I don’t even know where to begin.  Nothing could have stopped me from seeing Fruitvale Station, for several reasons.  First, I adore Michael B. Jordan (Chronicle).  Secondly, I support young emerging Black talent.  I admire people who follow their dreams and aspire to greatness, particularly in filmmaking.  The director of this film, Ryan Coogler, is a young man on the rise and I support that.  Lastly, the events that gave rise to this film were a tragedy, and I’m tired of it being ‘open season’ on young Black men in America.  I don’t have a brother, but if I did he might look like Oscar Grant. Or Sean Bell. Or Emmett Till. Or Trayvon Martin.  The list goes on and on, and I’m fucking sick of it.  My soul weeps, and that’s not hyperbole.

In the wee hours of New Year’s Day 2009, a young man named Oscar Grant was a passenger on a BART train heading into Oakland, California.  He had been celebrating the holiday with friends, and they were returning home.  While aboard the train, a fight broke out, prompting a response from transit police.  They detained several passengers, including Grant and his friends.  In the course of this detainment, Grant was shot in the back by one of the officers.  Oscar was unarmed.  The bullet entered through his back and ricocheted back into his body, piercing his lung.  By 10:00 AM on New Year’s Day, Oscar Grant was dead.  The movie begins with the actual footage of this crime, a chilling moment that is not dramatized until the movie’s final act.  Fruitvale Station, so named for that fateful transit stop, examines the last day of Oscar’s life.

You cannot divorce the movie from its larger societal context, particularly in light of George Zimmerman’s recent acquittal.  Other than their skin color, the similarity between Trayvon Martin and Oscar Grant is that they embody the frustration and futility that engulfs so many young Black men in America.  Over the course of the film we see that Oscar is an average young man.  He loves his daughter immensely.  He argues with his girlfriend, and they make up.  He loves his mother and his family, but like many young Black men, he is frustrated with his circumstances.  He has made some mistakes in the past, but he is hopeful and earnest in his desire to change for the better.  Desiring a new start for a new year, he wants to stop selling weed, and we see him make incremental changes in his life to that effect.  It is this flawed ‘everyman’ quality that makes him so relatable.  We are all playing the hand we were dealt, and we’re all trying to get better.

It is particularly poignant to watch his life unfold, only to know that it will be cut short very soon.  There’s an air of dread and foreboding that hangs over the movie, and even the joyful moments are painful, because we know that these moments are fleeting.  His tasks are mundane, but there is something refreshingly authentic about the way Coogler and Jordan brought Oscar to life.  He was immediately humanized, and we see that despite his shortcomings (previous brush with the law, moments of angry frustration), he was a beautiful spirit.  I always say that people are complex.  Good people do bad things, and bad people do good things.  The haunting thing about the movie and about Oscar Grant’s life in general, is that it is a story of promise unfulfilled.

Fruitvale Station won prizes at both the Sundance and Cannes Film Festivals, and it’s easy to see why.  Jordan is a revelation, and continues to impress with both his versatility and a rare ability to endear himself to audiences.  Octavia Spencer (The Help) is featured as Oscar’s mother, and you know this woman.  Either she is your mother, or your aunt or your friend’s mother – but you know this woman.  She carries a quiet and loving demeanor, a firm but gentle hand.  Black women are tasked with raising sons in a world that is at once fascinated by and fearful of that which they don’t understand.  As we see Oscar interact with children, his peers, strangers of different races (some of whom are White), and even a stray animal – we see that his humanity shone through.  It is this same sense of humanity that unites us all, if we could just cut through the bullshit and get to it.

I think Fruitvale Station will prove to be a seminal movie that very much captures a time in American history where we are at a proverbial crossroads.  It’s 2013 now, and the officer that murdered Oscar Grant has been tried, convicted and released, all within a four-year span.  I don’t know whether to laugh mirthlessly at that absurdity or cry about it.  As human beings, we need to figure out what unites us rather than what divides us, and we have to cling to that with every ounce of strength we have left.  What is about young and Black and male that threatens us?  Examination of this question is the difference between life and death for so many people, and the answer has to start to matter to more than just Black people.  It has to matter to all of us.  Grade: A+

Man on a Ledge

Lots of factors play into my decision whether or not to see a particular movie.  Sometimes the story itself looks intriguing, like Limitless or the recent Chronicle.  Other times, it’s the director that draws me in.  I’ll go see an M. Night Shyamalan movie just off GP, because I’m a fan.  More often than not though, it’s the cast that attracts me.  I like Sam Worthington (Avatar, Clash of the Titans), so when I belatedly heard about Man on a Ledge, I didn’t need much convincing.

Worthington stars as Nick Cassidy, a former police officer wrongly convicted of stealing a priceless gem from Wall Street titan David Englander, played by a scary-looking Ed Harris (Appaloosa).  Englander framed Cassidy, who was disgraced after being sentenced to prison.  After being denied parole, Nick decides to take desperate action to clear his name.  I won’t reveal the elaborate ruse that takes place, but lets just say that he devises a plan to escape from prison and soon he’s a fugitive.  Everything that happens next is all part of a carefully designed plan to exonerate Nick while finding out which other cops on the force helped set him up with Englander.  He enlists the help of Officer Lydia Mercer, (Elizabeth Banks, The Next Three Days) who is called in to talk him off the ledge.  Ah, the ledge.  Why is Nick on the ledge, and how can that help him clear his name?  Well, if I told you all that I’d spoil the movie wouldn’t I?  While Nick is on the ledge he forms a cautious bond with Mercer.  A recent mistake in the course of duty has caused her to lose favor with her peers on the force, just as Nick did when he went to prison.  This bond proves useful, because when the you-know-what hits the fan, Mercer is Nick’s only ally.

I think a lot of people are reluctant to see this movie because it seems familiar, or one note.  It’s a little smarter than that though.  It was relatively suspenseful throughout, and certain elements of the movie made it a solid caper.  Worthington let his natural Australian accent creep in a few times, but other than that he gave an earnest performance as the unlikely villain turned hero.  Anthony Mackie (The Adjustment Bureau) and Edward Burns also make appearances.  I wasn’t blown away by any one particular performance, but this wasn’t that kind of movie.  It was more plot-driven than character-driven, though the cast was more than capable.  I enjoyed the way it all unfolded, and by the time it’s over we see that Nick had a very strategic plan in place, using his law enforcement experience to predict everyone else’s moves.  The movie even offers a slight commentary on society (or at least jaded New Yorkers) by showing the perverse fascination with which passersby watch Nick, rooting for him to jump.  Was this movie deep and twisty like The Usual Suspects or as clever as Inside Man?  Of course not, but sometimes a distant second is good enough.  You won’t be blown away, but you won’t be disappointed either.  Wow. I just read the previous sentence and that was a lukewarm endorsement LOL. I’ll put it in better terms: Grade B