Marshall Is Empowering And Paramount For Biopic Cinema
Slow, lazy jazz crackles crispy through speakers as gazes cast screenward to watch the young attorney piece himself together. Background information floods the screen as the scene is set, and flickers to past trials that Thurgood Marshall had historically argued in. Director Reginald Hudlin (Django Unchained, Serving Sara) captures the heat of segregation as his film brings to life the struggles of people of color, specifically Supreme Justice Marshall as the rape case of Joseph Spell (Sterling K. Brown.) With accusations of Elanor Strubing (Kate Hudson) with an attempt to cover up the dark secrets of her own, defendant Loren Willis (Dan Stevens) isn’t afraid to push not only his statements, his own internalized racism as well. Bridgeport, Connecticut is paralyzed within its own fear. Marshall accepts to take up Spell’s case once he admits to him that he is surely innocent. The court allows the trial to proceed as the press ambushes pressingly after each hearing. Marshall, amidst his preoccupation, bumbles into counterpart attorney Sam Friedman (Josh Gad.) The film caters to the emotional aspect as it is heavily influenced by antisemitism as the brink of World War II is still infamously prominent. Flags such as “a man was lynched yesterday” are hauntingly flown before courthouses as if to remind the audience that the history has remained unchanged around the cornerstone case. Boseman, though he had claimed that he doesn’t believe he physically resembles Marshall, keys his voice to low, confident southern drawl that never seems to lose it’s temper. As the movie carries on, it relays between cut scenes allowing the private lives of Marshall and Friedman as they both battle their prejudices. The documentary is fast-paced and remains upbeat despite it’s uncomfortably truthful theme. As Marshall continues, it becomes centric around the intellectual action that unfolds within the courtroom. Dan Stevens is nearly unrecognizable as he is taken Legion‘s mutant junkie to white supremacist lawyer. His performance as Willis is arrogant, proud and bigoted- with enough talent to make anyone despise him. Gad seems to be the comic relief of the film, making the most unbearable moments of the film easier to watch. Friedman becomes the mouthpiece as Marshall is forbidden to speak within court, but is guided by his partner through witness interrogations and dissecting the evidence that determines a final verdict for Spell. Small scenes such as Marshall collecting pebbles are cleverly timed where they provide enough context to return in relevant situations. Lines such as “When I met you, I told you I would only defend you if you were innocent,” and “we’re not all slaves now, are we?” are impressive and chilling to the bone as they’re mildly delivered with severe impact. Marshall views the law as his weapon, in which he instructs Friedman around tactfully, and Boseman has channeled his strength in drawing his emotion to lead his performance. Through closing arguments, a verdict is hesitantly reached as Spell is granted his freedom and Stubing is greeted with the reality of her failing marriage. Victory is granted to the team of Friedman and Marshall as rewardingly satisfying. To conclude the piece, Marshall is seen daring to take a drink from a fountain labelled ‘whites only.’ Even though the film had potential to carry on further, it remains to revolve around a period of days with a single case and never touches on the future of either lawyers, which is somewhat disappointing. Still powerful and upliftlingly hopeful, Marshall borderlines what could be a Gad film as he interjects and oversteps.