HARRIET

Cynthia Erivo     Leslie Odom, Jr.     Janelle Monae     Joe Alwyn     Jennifer Nettles     Clarke Peters

     This story about the American hero, Harriet Tubman, who risked her life many times, first to save herself, then to save others, is a sobering account.  Its strength—not a singular one—is in showing how despicable slavery is to the human body and soul and the strength and assertiveness of one woman in rebelliously going against a whole society in her efforts to free slaves.

     The movie begins showing Harriet as a young woman married to a free man.  It becomes apparent to her when the prospect of being sold arises, that there is a way out, and she’s ready to take that step (literally, a “Give me liberty or give me death” move). Leaving her reluctant husband behind, she runs, swims, gets surreptitious help along the way, and somehow manages to get 100 miles north of her home in Maryland. Although she can’t read, she’s very good at following directions and locating people she is told will help her.  That is when she is directed to and reaches an organization in Philadelphia that runs the Underground Railroad.  

     Not content to make a life of her own at that point, Tubman continues to return home to help family members escape.  Her first trip to bring her husband with her results in some disappointing news, but she is able to rescue other family members.  She develops such a passion for freedom, she continues to help people get to the underground railroad, soon being named a “conductor” among the abolitionists.

     Cynthia Erivo is exemplary as Tubman, and I don’t know if the real Tubman sang, but when Erivo belts out a song at meaningful times, her voice is beautiful. Strong support is lent by Leslie Odom, Jr. as a major abolitionist for the Underground Railroad and Janelle Monae in a cameo role, as an ally who helps Tubman present herself as a free woman.  Also strong in a ferocious way is Joe Alwyn, as the slave owner’s son, who has loving memories of Tubman caring for him when he was gravely ill, but has self-entitlement so ingrained it gives him more impetus to catch her, with the aim of …you can guess.

     I kept feeling like I should like this film better than I did.  It was depressing, as tales of slavery always are and that’s understandable, but when evil or heroism are being portrayed, it lacks the “zip’ that would make it a moving experience.  This may be attributed to Kasi Lemmons’ direction along with the editing by Wyatt Smith.  Two other detractions related to implausibility are the depictions of Tubman’s visions, which I found hard to believe, and a scene in which Alwyn could have easily picked up his gun and stopped the fleeing Tubman.  It’s too bad the story ended when it did, leaving out Tubman’s later career in spying for the Union Army during the Civil War and her continued assistance to others.

     It is a good thing that Harriet Tubman’s story is—finally—being told.  I hope that other films follow with more of an in-depth look into what an extraordinary person she was.

A story about the American heroine Harriet Tubman that, unfortunately, lacks dramatic weight.

Grade:  C                                    By Donna R. Copeland

WIDOWS

Viola Davis     Liam Neeson     Robert Duvall     Colin Farrell     Michelle Rodriguez

Elizabeth Debieki     Cynthia Erivo     Brian Tyree Henry     Daniel Kaluuya

     Hold onto your seat; despite the leading title, this movie will keep you on edge—and on your toes—throughout the two-hours-plus time.  Rapid cuts between love scenes and major crime in the beginning shake you and disorient you, and then you must figure out who are all the characters thrown at you in the first few minutes.  

     Basically, if you’ve seen the previews, you know that the widow of a slain criminal contacts the other widows of her husband’s accomplices with a plan to secure their future after she finds the notebook he made sure she would get. As happens a lot in this film with men and women, he has underestimated her feminine wiles and will.

     In a role made for her, Viola Davis as Veronica uses her head after she is threatened by a rival gang, the Manning brothers (Henry and Kaluuya), who demand money from her that her husband Harry Rawlings (Neeson) stole.  Jamal Manning is determined to join the wealthy of the world, using his brother Jatemme as a fearsome hit man with no limits as to what he will do.  

     Corruption in city government is intertwined with criminal elements, assuring that interconnections among the characters will inevitably occur.  For example, Tom Mulligan (Duvall) and his son Jack (Farrell) are corrupt city officials who mete out city contracts to their friends.  Jack is currently running for city comptroller against Jamal Manning. All of them were well acquainted with Harry Rawlings when he was alive.  

     The main characters in this well-conceived plot are after the money that is now missing (burned up?) from the Rawlings caper that went down.  You will know who, if any, will end up with it only after many thrills and chills along the way.  The women occupy the stage most of the time, and actually, the men don’t come across well at all.  We see honor and care among the women who are following in their husband’s footsteps, but not in the same way.  The male characters are shown to be duplicitous, violent, and reactionary. 

     Writer-director Steve McQueen (12 Years a Slave, Shame) and screenwriter Gillian Flynn (Gone Girl) based the movie on the popular British television series written by Lynda La Plante of Prime Suspect fame.  With this much talent, it’s not surprising that their production is of such high quality.  No cheap thrills here, every inch of it is solid and has internal consistency and believability.  Hans Zimmer’s score and Sean Bobbitt’s cinematography provide an additional degree of excellence.

     Quotable quotes:  “You reap what you sow”; the reply:  “I hope so” and “If something goes wrong, I want my kids to know that I didn’t just sit there.” 

For an exciting, invigorating, suspense-filled evening go see Widows.

Grade:  A                                                  By Donna R. Copeland