A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Fruitvale Station. Show all posts
Showing posts with label Fruitvale Station. Show all posts

Thursday, July 10, 2025

Fruitvale Station (Ryan Coogler, 2013)

Michael B. Jordan in Fruitvale Station

Cast: Michael B. Jordan, Melonie Diaz, Octavia Spencer, Kevin Durand, Chad Michael Murray, Ahna O'Reilly, Ariana Neal, Keenan Coogler, Trestin George, Joey Oglesby, Michael James, Marjorie Crump-Shears. Screenplay: Ryan Coogler. Cinematography: Rachel Morrison. Production design: Hannah Beachler. Film editing: Claudia Costello, Michael P. Shawver. Music: Ludwig Göransson. 

As long as it stays true to its neorealist roots, Ryan Coogler's Fruitvale Station is a very good movie indeed, and one that has proved a harbinger of better movies to come in Coogler's career. It goes soft in casting actors like Octavia Spencer and Kevin Durand in roles that bring attention to their familiarity amid less-familiar faces. (Michael B. Jordan has become a familiar face, but was comparatively unknown at the time.) It also indulges in a little too much sentimentality, as in the stray dog scene, and some unnecessary coincidence, as in the reappearance of Katie (Ahna O'Reilly), the woman Oscar helps in the market, on the BART train that night. Perhaps the biggest mistake, however, is in turning the film into a  biopic of Oscar Grant. By focusing on Grant's backstory the film blunts the points it makes about racism, the training of police, and the dynamic of crowds. Oscar Grant certainly didn't deserve to die that night, but then no one did. Still, it's a meaningful film, with fine performances by Jordan, Spencer, Melonie Diaz, and the very young Ariana Neal as Oscar's daughter. It's also a skillfully made one, especially in its editing and in the mercifully subtle score by Ludwig Göransson.