Stars: Idris Elba, Naomie Harris, Tony Kgoroge, Riaad Moosa
Director: Justin Chadwick
Oscar History: 1 nomination (Best Original Song-"Ordinary Love")
Snap Judgment Ranking: 1/5 stars
If there is anything that Hollywood loves when it comes to
movie subjects, it’s the biopic. A trope
nearly as old as the movies themselves, biopics have been getting financed and
produced for decades by Hollywood, and you really aren’t famous until you have
a movie about your life.
In some respects, this is a great thing. Movies expand the audience of a person
in a way few other things could, and in the case of Nelson Mandela, that’s
always a good thing. People
learning more about the world and
the steps that one person can take to make it a better place-that’s always
something worth celebrating.
The problem is, though, that Hollywood is not good at making
biopics, despite making them ad nauseum.
There’s a bevy of reasons for this. For starters, biopics are greatly hindered by the audience
knowing what’s going to happen. We
know that, say, Nelson Mandela is going to get out of prison and change South
Africa for all-time. There’s no
mystery here because it already happened and happened while the entire world was watching.
And yet Hollywood frequently doesn’t work around this fact with a
movie. With Long Walk to Freedom, it doesn’t play up the situations that we
might now know about Mandela’s life, and instead acts as if it is a surprise
that Mandela is about to be freed of his own accord and soon become president.
That is one of the biggest issues at the center of Long Walk to Freedom, an exceedingly
dull and lifeless biopic that managed to land a sole Oscar nomination for Best
Song last year, hence why you’re reading about it here (we’ve got one more 2013
OVP film to go before we dive into our fifth OVP ballot, in case you were
curious, and it’s on my TV stand as I type this). The film acts as if most of the information we are receiving
is new. Five years ago, a
considerably better (though not really “good”) film about Mandela was released
called Invictus, and it smartly
focused on a less publicized aspect of Mandela’s life.
You can even make a decent biopic about a very famous person
in a very famous part of their life if you’re willing to give a little on the
main character. Two recent examples
of this are The Queen and The Social Network. The
Queen is anchored by Helen Mirren trying to humanize one of the most famous
people in the world who is notably private about her personal life. It works not because we get
particularly new information (almost all of the events of the film was well-publicized at the
time or in the years after), but because it is willing to explore the inner
depths of Queen Elizabeth II at her most unpopular. The same can be said for David Fincher’s masterpiece The Social Network, which does its best
to not only give us a very human side to a man whom the public knows little
about, but also to show the deep flaws that drove him to become one of the
world’s most powerful innovators.
The message here, and the reason that Long Walk to Freedom further doesn’t work is that while you don’t
need to be hampered by a familiar story (though you certainly can be), you
cannot succeed if you’re not willing to make your main character a real
person. Real people have deep
flaws, jealousies and passions.
They take advantage of their positions and make the wrong decision and
get away with it. They are human
beings. And Idris Elba’s Nelson
Mandela is not a human being. He
is, instead, a saint amongst men.
It seems callous to say this about Mandela so soon after his
death, but no one is perfect, and I’m guessing he would readily admit that. Idris Elba’s Mandela, though, with his
constant turning of the other cheek and complete lack of self-doubt, is too
perfect to exist in real life.
Constrast that with Naomie Harris’s performance of Winnie as the
spawn-of-satan and you not only have the perfect leader, but the perfect,
patient man dealing with a deeply flawed wife. This may reflect real
life to some degree (Winnie Mandela has become a deeply polarizing figure in
South African history), but it doesn’t make a particularly strong film.
The film’s song, it should also be noted, is somewhat
disappointing in its placement, starting right at the credits rather than
having any connection to the film itself.
The movie was in desperate need of some motion-why couldn’t this have
gotten a more proper musical treatment and “Ordinary Love” would have been one
of several U2 songs to play at key moments in the picture? As it is, it’s just resting there on
its own merits, and the film doesn’t have the grandeur to make you want to stay
and listen to it like “My Heart Will Go On” in Titanic.
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