[critical] SELMA

Mh a in scene Martin Luther King, iconic figure of the fight for the civil rights of blacks in the United States, is a first in cinema. With SELMA director Ava DuVernay does not mean in a biopic classic, which would have retraced the life of a baptist pastor as a whole. Recalling further the film by Roger Donaldson, Thirteen days (2000), which featured president Kennedy at the time of the cuban missile crisis (from 14 to 28 October 1962), SELMA focuses on a few months of the life of King. A short period of time retracing the events of Selma, from its origins through to its outcomes. A moment in history that remains important today, full of intense twists and turns, and allows for Ava DuVernay to take us into a captivating plot.

City in the deep South of the United States, in the State of Alabama, Selma will become the place of confrontation between a number of organizations and associations that fight for civil rights of the black community, conducted by the pastor Martin Luther King, and the local authorities are particularly hostile to stop segregation and to grant these rights. The non-violence advocated by King is going to do in the face of police violence, raising little by little the interest of the media. In particular, during the marches of protests, including those organised between Selma and Montgomery, Alabama’s capital city where the governor Wallace, a populist and defender of the segregationist model. It is on this period of several months between the moment where the shepherd King receives the Nobel peace Prize in October 1964 and his speech, at the end of a march, the march 25, 1965, in front of the State Capitol (seat of the legislature and the governor) of Montgomery, is the action of the film ofAva DuVernay.

To deal with this topic history, Ava DuVernay reviews of a timeline several key dates. As the February 18, 1965, the day of the death of a deacon, age 26, Jimmie Lee Jackson, after the attack of the walkers in the city of Marion (Alabama) by the police. Between these decisive events director, and develops various reports and conflicts arising internally during this period. Primarily with the Student Nonviolent Coordinating Committee (SNCC coordinating Committee non-violent students, founded in 1960), already in place in Selma. But also with Malcolm X (Nigél Thatch) who met Coretta Scott King (Carmen Ejogo), wife of King, while the latter was in police custody, or even with president Johnson (Tom Wilkinson), whose relationships with the pastor will often be tense. However, SELMA offers a look important on the use of the media. Because it is the presence of the cameras of journalists is essential, according to pastor King, to carry forward the struggle without violence. This is whereAva DuVernay reveals an intelligence of staging, in the way it addresses the different actions, several steps (mainly that of the 18th February to Marion and then from 7 march to Selma), depending on the presence or not of the journalists. Without the cameras, the horror, the fear and violence prevail as the demonstrators of Marion are subject to the attack of the police. By following a sense of hope (especially by the right use of music) is felt well that the protesters are driven and hunted like beasts on the bridge, Edmund Pettus, outside of the city, in the first of three marches from Selma to Montgomery, by the forces of the order of a sudden batons and tear gas. This time the cameras are there, and 70 million americans (us) are still in shock and with a feeling of disgust. A sequence of masterful where come to be grafted archival images, that leave us without a voice.

”In its implementation in the light of significant historical facts, Selma must be seen !”

Obviously if the film is a success thanks in part to the perfect embodiment of Martin Luther King actor David Oyelowo. This last transcends in every discourse, by his voice, his gestures and his facial expressions. Her character, placed in the centre of the movement, is not presented as an icon. It is much more complex, with doubts and family problems (one of the springs and dramatic genre biopic). Selma evokes, but without going sufficiently into detail, his mistresses and his adventures revealed to his wife by the FBI. Facing the King stands the frosty governor Wallace, monstrously worn by Tim Roth, full of contempt and darkness. Furthermore, members of organizations and associations that accompany the pastor (both men and women) do not make for as much of the figuration, far from it. It is through them that the film switches. With finesse, the filmmaker leads us to admiration. Thanks to a simple sequence of short straw, to decide which of the leaders will lead the walk in the absence of a King. Thus it is understood that from the beginning everyone knew that he was going to break pipe.

Despite an end to a little artificial, where visual and sound effects little necessary mix, stir, SELMA remain just as a whole. With costumes and sets appropriate and authentic (shot on-site events), it is especially in its implementation in the light of significant historical facts that SELMA must be seen !

The other outputs of the 11 march 2015



Category: Uncategorized

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