Three years ago, the furor that erupted over Nate Parker — when the rape allegations made against him in 1999 resurfaced, though he’d been cleared of the charges in court — set the table for the #M…
,” I’m compelled to report what will strike some as inconvenient news. It’s a good movie: tense, bold, angry, empathetic, provocative, observant, morally engaged. And also, to be honest, a trifle gimmicky. Yet that’s tied to its power as a racially charged, socially urgent gut-punch drama.
Yet even as I thought that, I felt myself drawn in by Parker’s performance, which hits a note of complex, lived-in despair. The movie fills in the story with flashbacks, including a telling one in which we see Kajani adopting a righteous rejection of police brutality — a chip-on-the-shoulder contempt for the lawlessness of it — that’s one part Barack Obama and two parts Malcolm X . Linc tells his son: Morally, you’re correct, but sorry, but that’s a dangerous attitude.
I’ll admit, for a moment, that I groaned again. Where could this possibly be going? And when Linc announces that he wants to stage his own mock trial, the whole idea sounded desperate, reckless, and over-the-top — on Linc’s part, and on the part of Parker as a filmmaker.
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