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

MARY QUEEN OF SCOTS

Margot Robbie     Saoirse Ronan     David Tennant     Guy Pearce     Jack Lowden

Joe Alwyn     Brendan Coyle     Martin Compston     James McArdle

     The movie reflects the views of historian John Guy in his book, My Heart is My Own: The Life of Mary Queen of Scots, which departs from previous historical accounts that were more critical of Mary and her leadership, but nevertheless won the 2004 Whitbread prize for biography.  In this version of history, Mary was betrayed numerous times, ending with her beheading by order of Queen Elizabeth I of England.  Whether it is regarded as historical truth or a biased perspective, I’m not one to judge; but as a movie it is fascinating, and contains more than a kernel of truth about human nature and the willingness to stop at nothing in the interest of personal ambitions.  Beau Willimon’s (of HBO’s “House of Cards” fame) screenplay brings excitement, suspense, and a realistic(?) view of political intrigue. As much as one can rely on Guy’s accounts, the viewer will feel better informed about   English-Scottish conflict, particularly as relates to Mary, Queen of Scots.

     Whether factual and intended, or simply a reflection of male-female relationships in general, the movie illustrates the difficulties many men have when women are in power.  In this case, both queens rely heavily on male advisors who may or may not have their superior’s best interest in mind.  It seems that men in both realms have their own agendas—which always seem to include weakening of the female power to be replaced by a male authority.

     Both queens are pressured to produce a male (or secondarily a female) heir to the throne. Elizabeth, who identifies with men, refuses to marry (because she can’t find a man willing to be a wife) and remains single throughout her life, despite her chief minister’s urging to find a mate.  There are rather comical scenes when she sends Robert Dudley, her favorite advisor whom she is sweet on, to woo Mary, as an ultimate plan to control Scotland; but Mary sends him back to England, and he is a pawn for a time after that.

     Mary takes matters into her own hands, and when the first seducer comes courting, she makes sure she will bear a child.  Unfortunately, he is Lord Darnley, a man of weak character dominated by an ambitious father, who will have undue influence on him against Mary. Nevertheless, she does get pregnant and bears a son she names James, after her father and an uncle.

     Major unrest and military encounters ensue through the years, with one side or the other winning, and always planned and executed by the men surrounding the queens.  In this account, Mary comes across as a strong military leader as well as one with sound principles (she is accepting of both Protestants and Catholics, a bitter divide at the time) and astute political sensibilities, as attested to by Queen Elizabeth herself.  Her pleas with Queen Elizabeth are eloquent, but unfortunately may be followed by what appears to Elizabeth to be insubordination.  

     The work of Saoirse Ronan and Margot Robbie are both award-worthy performances. Each captures her character’s essential elements and makes us forget the actress and “believe” in the character. They “own” this film so much that even though we get strong performances from Guy Pearce and other actors, it is really Ronan’s and Robbie’s film.  

     Kudos to Beau Willimon for the script, Max Richter for the music, James Merifield for production design, and John Mathieson for cinematography. Director Josie Rourke shows talent in this her first major film to helm, I will be looking for her work in the future.

History is presented as the amazing drama it so often actually is.

Grade:  A                                    By Donna R. Copeland

OPERATION FINALE

Oscar Isaac     Ben Kingsley     Melanie Laurent     Nick Kroll    

Lior Raz     Michael Aronav     Joe Alwyn     Greta Scacchi

     The title is borrowed from Nazi Adolph Eichmann’s term, the “Final Solution”, his proposal in 1942 to get rid of the Jews in Germany, which was to exterminate them, something he accomplished with staggering efficiency.  The result was the deaths of 3-4 million Jews in occupied Europe and another 2 million elsewhere.  Fast-forward to 1960, when Israeli Jews discovered where Eichmann was after his escape before the International War Crimes Tribunal was held in Nuremburg.  He had fled to Buenos Aires, Argentina, where he lived with his family under a pseudonym and worked in a Mercedes-Benz factory.  

     With the blessing of Prime Minister David Ben-Gurion, a small team of Mossad agents was dispatched to Buenos Aires to abduct Eichmann and bring him to Israel for trial.  Disagreements had to be worked out between those who were still so enraged they wanted him killed and maybe tortured on the spot.  But cooler heads argued that putting him on trial for the whole world to witness was a better plan.  

     Although the real events were laden with drama, the movie, Operation Finale, elaborates on history to increase the tension and excitement for audiences.  It could be argued that this is unnecessary, in that simply telling the story like it happened is drama enough.  For instance, I understand that in actuality Eichmann was drugged and disguised as an injured airline worker with a bandage on his head in order to fly him to Israel.

     At any rate, the film focuses on the Israeli operatives and their interactions with one another and with Eichmann, giving us background stories that make us care about them and their families and accomplices, and helps us appreciate the dangers of the operation.  The action of the story is so absorbing and exciting, that if you didn’t know the outcome—or even if you do—you will be impressed.

     Oscar Isaac as Peter, one of the Mossad agents, and Ben Kingsley as Adolph Eichmann make the two characters come alive, especially during the time they are in a safe house before their departure from Buenos Aires.  Peter is convinced that they will get more from Eichmann—specifically, a signature—by establishing rapport with him, rather than obtaining it through force and torture.  This is borne out, which pleased me, in that it has been shown that this approach is much more effective than torture.  Unfortunately, they also demonstrate torture giving captors the information they desire, which undercuts the good example.  (Whether or not these circumstances are a reflection of true events or whether they are fiction for the movie I cannot say.)  

     All of the actors are very good, and Matthew Orton’s script and Chris Weitz’s direction—along with the lesson in history, albeit a compromised one—make this a worthwhile movie to see.  The “dressing up” for film audiences doesn’t detract too much from essential historical elements, which allows me to recommend it.

A thrilling, tension-filled story that reflects enough of the historical events to make it worthwhile for all to see.  

Grade:  B                                    By Donna R. Copeland