An assured feature film directing debut for Regina King that continued this year's award trend for translating projects from stage to screen, from Netflix's Ma Rainey to the upcoming Anthony Hopkins/Olivia Colman's The Father. Adapted to the big screen by Kemp Powers from his own stage play, this was a powerful film that mediated on the themes of racism, equality, societal justice and personal duty and obligations. It also featured a breakthrough performance by Kingsley Ben-Adir as Malcolm X and supported by a well-cast Leslie Odom Jr doing a great Sam Cooke impersonation, Eli Goree as the young, cocky Cassius soon-to-be-Muhammad-Ali Clay and Aldis Hodge as the steady rock of the quartet, Jim Brown.
King's direction was graceful as she weaved the camera in and out and around these four men in a space as they talked, fought, laughed and debated. And when they split up into pairs for deeper - more personal communication - King choreographed the separations naturally and leaned in closer with her camera to capture the more intimate conversations and more subtle nuances.
Powers - in his second screenplay of the year, following Soul - fictionalised what happened behind closed doors in this real meeting of the four men. His screenplay spoke the truth but also tried to portray both sides of the coin but it was clear which side Powers (and perhaps even King) leaned towards.
Comparisons with Ma Rainey's Black Bottom will be inevitable. Although both films dealt with similar themes, "One Night in Miami" was more overt in its presentation. However, where Ma Rainey's best it was in its acting and writing. The powerhouse performances by Chadwick Boseman and Viola Davis anchored the film, and the very strong supporting actors that surrounded them capably lifted the strength of the ensemble as a whole. In addition, August Wilson's words had a more lyrical cadence and elegance that provided an hauntingly beautiful narrative.
Direction wise, both George C. Wolfe's and King's were comparable in that both films did not feel too stage-y despite the limited set pieces, but King attempted more versatility with more varied shots and angles whereas Wolfe opted for more close-ups and tightly composed shots to amplify the sweltering heat and heated emotions.
But where both films did well in were the music choices. It was 20s Ma Rainey blues with saxophonist Branford Marsali vs. the King of Soul, Sam Cooke, and jazz musician Terence Blanchard. Odom Jr might also be getting an Oscar nomination for his original composition, "Speak Now", played over the ending credit.
Ben-Adir was a revelation. His Malcolm X was a quiet, resolute man that belied a fiery passion that would erupt and engulf, but he was also fiercely compassionate, deeply religious and genuinely loving. Ben-Adir portrayed him with all these layers that slowly unpeel and unfurled and re-folded unto itself.
Odom Jr had the next showiest role and although he did a great impersonation of Cooke, he did tend to veer towards over-acting. Perhaps it was a choice - director's or actor's - to elucidate Cooke's success with a more exaggerated performance, but it was a tad distracting.
Hodge and Goree had a little less to do but at least they each had one showcase scene.
An engaging film by King that will surely remained in the awards conversation this year, but lacking any powerhouse acting performances, it might be tough for it to break into the race proper. It's closest bets will be Best Song and Best Adapted Screenplay and a long shot for Best Actor and Best Director (never underestimate the love for Emmy and Oscar-winner Regina King).
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