“He didn’t like to be left alone.”
Oscar Grant’s mother Wanda, played superbly by Octavia
Spencer, delivers this line in one of the most compelling scenes in the film. It is a detail, that when considered in the context of the
story, hits us on all sides, and most importantly, in the heart. Details like
these penetrate the divisive rhetoric framing Oscar Grant as a saint or a
criminal. Instead, he is a son who didn’t want to be left alone by his mother,
a detail so specific and tangible that the story can only be felt at that point,
not categorized, or framed.
The film centers on the true story of 22-year-old Oscar
Grant, a black Bay Area resident who was fatally shot in the back in the early hours of
New Years Day 2009 after being detained by BART Police at Fruitvale Station, all of which was
captured on Bart bystander’s cell phone cameras.
Michael B. Jordan delivers a whirlwind performance as Oscar
Grant, one that sees him take on several micro- performances dictated by the
personality of Grant. During the Q&A
for the film, director Ryan Coogler spoke about his research of Grant,
saying, “If you go to five different
people, you get five different stories (of Grant).” This is best conveyed in a grocery store
scene where Grant jovially assists an unknowing white female customer with a fried fish recipe, while maintaining a friendly exchange with a coworker, followed by an
emotionally- heated interaction with the grocery store manager. Jordan
skillfully navigates the varied textures of Grant, situating himself into
different modes of empathy, anger, and joy. Of the role, he said, “…I’m not a
political activist, I’m an actor and through my work I’m able to spark
conversations between people, and get emotions out of people to start questioning
how we treat one another.”
His performance is a great complement to Coogler’s direction
and script, where nuance and foreshadowing are handled with a level of subtlety
that doesn’t overemphasize their presence, but captures them in striking,
understated ways. The Bay Area itself
becomes a character, populated by black beanies, water rushing onto the
rocks of the bay, and that distinct diction and physical bravado embodied by Grant and
his friends, all framed beautifully by cinematographer Rachel Morrison, who shot on super 16mm film here.
With that foreshadowing and characterization, comes a rising tension in both Grant and the film
that makes the happiest moments- Grant playfully brushing his teeth with his
daughter Tatiana (Ariana Neal) – bittersweet. The
sound design accelerates the tension, merging with the industrial, metallic rumble of the Bart train moving in and out of tunnels. The Bart becomes a
warning, an element of dread in this way.
This is a film for the people, a film for feelers and thinkers
who want to see a story about a flawed person who loved his daughter and
family, and wanted something better in life even if he didn’t quite know how to get it. It is not a film about blame or about the cop who pulled the trigger,
and it may be criticized for that lack of emphasis. But at a time where human
beings like Grant are murdered and then scrutinized by the media about their “criminal
background,” the film is important and necessary. It argues for a life that
mattered to a daughter, and leaves us to wrestle with the hard questions of how
this tragedy impacts her, and people like her.
Fruitvale Station
opens in theaters today, July 12th. Visit the website for more information.