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Selma Blu-ray Review
Dr. Martin Luther King, having helped lead efforts of equality in a racially divided America and realizing victories against segregated schools and the ‘separate but equal’ lie, sought to press the administration of President Lyndon B. Johnson to introduce federal legislation aimed at wiping away remaining institutionalized racism and barriers to a fair, just and equal America. The fight would be for voting rights, routinely denied to African Americans in many southern states through poll taxes, disenfranchising local laws, and abuses of power. The battleground would be Selma, Alabama, against the blatantly illegal actions of the local Sheriff, Jim Clark and under the passively supportive doctrine of the Democratic Alabama State Governor, George Wallace. Dr. King and several leaders from the Southern Christian Leadership Conference would descend upon the small Alabama town, bringing the watching eye of the media, and the energy and unique leadership of his non-violent movement, to draw national attention to the plight, and to publicly pressure a politically unwilling president (unwilling to bow to King’s timeline, not necessarily his ultimate intent,) into action. Organizing a landmark march, a 50 mile walk from Selma to the capital of Montgomery, the marchers were met with a brutal reaction from state troopers and violently racist posse’s. The resulting national attention and outrage would be instrumental and helping maneuver the nation, and provide President LBJ with an urgency, to act.
As director, Ava DuVernay’s demonstrates a confident and interesting visual style in Selma, choosing tight angles for choice scenes, and an occasional view-down perspective that conveys a sense of discord (or, if one chooses, a sense that a higher power is watching and will soon answer prayers.) DuVernay also chooses interesting framing, placing figures at times to the extreme edges of the 2.35:1 frame. Selma is well shot, beautifully lit, and with the expert eye of Director of Photography Bradford Young working with the director, able to create a superb sense of time and era.
Selma is rich with strong talent and fine performances, with David Oyelowo’s performance of Dr. Martin Luther King Jr., rightfully garnering wide praise. Born in Oxford, England to Nigerian parents, the masterfully talented Oyelowo inhabits the presence and cadence of the Atlanta, Georgia-born civil rights leader with an extraordinary and natural ability. The weight of the struggle, the intimate flaws of the man who was revered by supporters of the movement (and loathed by those threatened by the positive change he represented,) are behind the eyes of Oyelowo. Carmen Ejogo portrays Coretta Scott King for the second time in her career (following her performance in 2001’s Boycott,) and is perfect with a subdued sense of faithfulness to, and belief in, her husband. Ejogo also captures in her calm performance the struggle and stress from the pressures and dangers of their mission.
The likeable Stephan James is steadfast and mature as the young John Lewis seemingly at the base of the mountain of work for civil rights and justice that he would perform through his long career. Wendell Pierce as Rev. Hosea Williams is brilliantly dramatic in a small, but pivotal role. Other standouts include actors in small roles, such as Niecy Nash as Richie Jean Jackson, André Holland as Andrew Young, and Common as the unassuming James Bevel. Oprah Winfrey also has a small role as Annie Lee Cooper, and another English actor, Tim Roth, is reasonably good as Governor George Wallace. It’s a superb cast all around, and though the film focuses on just a few key moments, and predominantly a few key roles, each actor involved with the production delivers a solid performance.
Where Selma perhaps stutters is in some of the scripting, notably in how subjects convey information, clumsily at times educating audiences on the context of the ‘who’ and the ‘why.’ There are other, better ways to orient audiences to the context of a moment, or make them aware of who the key figures are within a scene. Some moments contain an awkward shoehorning of textbook notes which stand in contrast to many scenes where the script is nuanced, patient, and supported by excellent, and emotionally rich performances. One other note of weakness is in the score spotting. Composer and Jazz pianist Jason Moran produces a fine underscore, sweet at times even, but the music, for example, all-too-often kicks in predictably as King begins a short speech-like response to a question or argument, and as a result something is taken away from the sum of the scene. One scene in particular illustrates the transparency of the technique, as King hears Federal Lawyer John Doar (Alessandro Nivola) attempts to persuade him not to make his planned speech upon the conclusion of the march in Montgomery, a soft piano and string piece begins as King begins his eloquent response. The scene did not need the music. The moment, and Oyelowo’s delivery of the meaningful dialogue were more than sufficient for the scene to carry the needed weight and to mark the moment.
The nature of President Johnson’s presence in the film also found itself the subject of debate. Questions on the accuracy of his service as foil, or obstacle to the timetable of progress for voting rights have been raised. The main complaint against the film is in how some have viewed the portrayal of Johnson’s perspective on voting rights. The record shows that President Johnson was a supporter of legislation for voting rights protections (the film does not negate this,) but the record also shows that the president felt that the timing would be better to pursue such tough legislation at a later time since progress against his already ambitious agenda, which included work on poverty, education, and Medicaid, was already slowing down. It was a matter of political maneuvering and timing. President Johnson was an ally in the pursuit for equality and the desperate change that America needed to undertake, but his role in the political sphere, and hi willingness to be more patient with that process while the egregious disparity of justice, and continued assault on the rights and persons of color were allowed to persist – were at odds with the natural urgency of the movement. Selma does not paint President Johnson as a villain – hardly – his discussion with Governor Wallace at the White House where he says “I'll be damned if history puts me with the likes of you,” is revealing of his heart. But the political realities are hard to reconcile when innocent black men and women are being killed in the streets by resistant, dangerous, and bigoted men in power.
The Road to Selma
Recreating Selma
“Glory” Music Video featuring John Legend and Common
Historical Newsreels
Photo Gallery
Deleted and Extended Scenes
National Voting Rights Museum and Institute
Selma Student Tickets: Donor Appreciation
Commentary by director Ava DuVernay and actor David Oyelowo
Commentary by director Ava DuVernay, Director of Photography Bradford Young and Editor Spencer Averick
Feature film on DVD (standard definition)
Digital Copy of the Film
Selma is a powerful, finely made film with terrific performances and shares an important moment in American history that should never be forgotten. Sadly overlooked by the Academy during awards season, and in particular the magnificent performance of David Oyelowo as Dr. Martin Luther King, Jr., Selma should find a wide audience and greater appreciation on home video. Some dramatic license taken by the film, though not unexpected for a historical drama, did generate some controversy during its theatrical run, though largely overblown (at least in the eyes of a number of trustworthy historians.) Selma should, as with all historical films, be a call to seek out more information on the time and the events as portrayed on film.
Studio: Paramount
Distributed By: N/A
Video Resolution and Encode: 1080P/AVC
Aspect Ratio: 2.40:1
Audio: English 5.1 DTS-HDMA, French 5.1 DD
Subtitles: English, English SDH, Spanish
Rating: PG-13
Run Time: 2 Hr. 8 Min.
Package Includes: Blu-ray, DVD, UltraViolet
Standard case with slipsleeveDisc Type: BD50 (dual layer)
Region: A
Release Date: 05/05/2015
MSRP: $39.99
The Production Rating: 4/5
“It is unacceptable that they use their power to keep us voiceless. As long as I am unable to use my constitutional right to vote, I do not have command of my own life. I cannot determine my own destiny. For it is determined for me by people who would rather see me suffer than succeed. Those that have gone before us say, ‘no more! No more!’ That means protest. That means march. That means disturb the peace. That means jail. That means risk. And that is hard. We will not wait any longer. Give us the vote. We’re not asking. We’re demanding. Give us the vote!”
Dr. Martin Luther King, having helped lead efforts of equality in a racially divided America and realizing victories against segregated schools and the ‘separate but equal’ lie, sought to press the administration of President Lyndon B. Johnson to introduce federal legislation aimed at wiping away remaining institutionalized racism and barriers to a fair, just and equal America. The fight would be for voting rights, routinely denied to African Americans in many southern states through poll taxes, disenfranchising local laws, and abuses of power. The battleground would be Selma, Alabama, against the blatantly illegal actions of the local Sheriff, Jim Clark and under the passively supportive doctrine of the Democratic Alabama State Governor, George Wallace. Dr. King and several leaders from the Southern Christian Leadership Conference would descend upon the small Alabama town, bringing the watching eye of the media, and the energy and unique leadership of his non-violent movement, to draw national attention to the plight, and to publicly pressure a politically unwilling president (unwilling to bow to King’s timeline, not necessarily his ultimate intent,) into action. Organizing a landmark march, a 50 mile walk from Selma to the capital of Montgomery, the marchers were met with a brutal reaction from state troopers and violently racist posse’s. The resulting national attention and outrage would be instrumental and helping maneuver the nation, and provide President LBJ with an urgency, to act.
As director, Ava DuVernay’s demonstrates a confident and interesting visual style in Selma, choosing tight angles for choice scenes, and an occasional view-down perspective that conveys a sense of discord (or, if one chooses, a sense that a higher power is watching and will soon answer prayers.) DuVernay also chooses interesting framing, placing figures at times to the extreme edges of the 2.35:1 frame. Selma is well shot, beautifully lit, and with the expert eye of Director of Photography Bradford Young working with the director, able to create a superb sense of time and era.
Selma is rich with strong talent and fine performances, with David Oyelowo’s performance of Dr. Martin Luther King Jr., rightfully garnering wide praise. Born in Oxford, England to Nigerian parents, the masterfully talented Oyelowo inhabits the presence and cadence of the Atlanta, Georgia-born civil rights leader with an extraordinary and natural ability. The weight of the struggle, the intimate flaws of the man who was revered by supporters of the movement (and loathed by those threatened by the positive change he represented,) are behind the eyes of Oyelowo. Carmen Ejogo portrays Coretta Scott King for the second time in her career (following her performance in 2001’s Boycott,) and is perfect with a subdued sense of faithfulness to, and belief in, her husband. Ejogo also captures in her calm performance the struggle and stress from the pressures and dangers of their mission.
The likeable Stephan James is steadfast and mature as the young John Lewis seemingly at the base of the mountain of work for civil rights and justice that he would perform through his long career. Wendell Pierce as Rev. Hosea Williams is brilliantly dramatic in a small, but pivotal role. Other standouts include actors in small roles, such as Niecy Nash as Richie Jean Jackson, André Holland as Andrew Young, and Common as the unassuming James Bevel. Oprah Winfrey also has a small role as Annie Lee Cooper, and another English actor, Tim Roth, is reasonably good as Governor George Wallace. It’s a superb cast all around, and though the film focuses on just a few key moments, and predominantly a few key roles, each actor involved with the production delivers a solid performance.
Where Selma perhaps stutters is in some of the scripting, notably in how subjects convey information, clumsily at times educating audiences on the context of the ‘who’ and the ‘why.’ There are other, better ways to orient audiences to the context of a moment, or make them aware of who the key figures are within a scene. Some moments contain an awkward shoehorning of textbook notes which stand in contrast to many scenes where the script is nuanced, patient, and supported by excellent, and emotionally rich performances. One other note of weakness is in the score spotting. Composer and Jazz pianist Jason Moran produces a fine underscore, sweet at times even, but the music, for example, all-too-often kicks in predictably as King begins a short speech-like response to a question or argument, and as a result something is taken away from the sum of the scene. One scene in particular illustrates the transparency of the technique, as King hears Federal Lawyer John Doar (Alessandro Nivola) attempts to persuade him not to make his planned speech upon the conclusion of the march in Montgomery, a soft piano and string piece begins as King begins his eloquent response. The scene did not need the music. The moment, and Oyelowo’s delivery of the meaningful dialogue were more than sufficient for the scene to carry the needed weight and to mark the moment.
The nature of President Johnson’s presence in the film also found itself the subject of debate. Questions on the accuracy of his service as foil, or obstacle to the timetable of progress for voting rights have been raised. The main complaint against the film is in how some have viewed the portrayal of Johnson’s perspective on voting rights. The record shows that President Johnson was a supporter of legislation for voting rights protections (the film does not negate this,) but the record also shows that the president felt that the timing would be better to pursue such tough legislation at a later time since progress against his already ambitious agenda, which included work on poverty, education, and Medicaid, was already slowing down. It was a matter of political maneuvering and timing. President Johnson was an ally in the pursuit for equality and the desperate change that America needed to undertake, but his role in the political sphere, and hi willingness to be more patient with that process while the egregious disparity of justice, and continued assault on the rights and persons of color were allowed to persist – were at odds with the natural urgency of the movement. Selma does not paint President Johnson as a villain – hardly – his discussion with Governor Wallace at the White House where he says “I'll be damned if history puts me with the likes of you,” is revealing of his heart. But the political realities are hard to reconcile when innocent black men and women are being killed in the streets by resistant, dangerous, and bigoted men in power.
Video Rating: 5/5 3D Rating: NA
Audio Rating: 5/5
Special Features Rating: 4/5
The Road to Selma
Recreating Selma
“Glory” Music Video featuring John Legend and Common
Historical Newsreels
Photo Gallery
Deleted and Extended Scenes
National Voting Rights Museum and Institute
Selma Student Tickets: Donor Appreciation
Commentary by director Ava DuVernay and actor David Oyelowo
Commentary by director Ava DuVernay, Director of Photography Bradford Young and Editor Spencer Averick
Feature film on DVD (standard definition)
Digital Copy of the Film
Overall Rating: 4/5
Reviewed By: Neil Middlemiss
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