Fruitvale Station won the Grand Jury prize at Sundance this year,
and it is quite obvious why. The film is not just well made but also an important one, given its context. It’s also not a film as much as it is a heartfelt paean for the
utter lack of justice in the world.
On New Year’s Eve 2009 America
was shocked by an incident of police brutality against a young black man named
Oscar Grant at a subway station in California. Onlookers whipped out their cell
phones and videotaped the incident – the footage spread like wildfire and the
ugly head of racism was paraded over the internet. In Fruitvale Station director Ryan Coogler recounts this incident with
grit and a shade of tightly controlled anger.
Michael B Jordan, who appears in
the television series The Wire recreates
Oscar with earnest charm, making him the sympathetic everyman
without hogging the drama surrounding him. Director Coogler spends majority of
the film going through the events that led to the tragedy. Throughout the film
we meet Oscar’s family and friends, his struggle to escape the shadow of his
incarceration and deal with the lack of job offers. He is a flawed character, with
bouts of selflessness followed by moments of violence and temper. And Jordan
brings out those traits beautifully, his reactions are raw and real thus making
us connect with his character. We know how things are going to pan out for him,
but Jordan’s establishment of his character’s infirmity makes the incident at
the station all the more tragic.
The innate flaw of the film is
that it relies too heavily on the assumption that the audience will already be familiar with Fruitvale. That might work in American theaters but most foreign audiences probably wouldn’t be aware of the incident. It’s a tiny, but
important snag, and Coogler tries to bypass it by including real archive
footage in the narrative early on. What he does best, however, is he ascertains
the racial overtones without sermonizing on them. That makes Fruitvale Station the anti-Crash, and a damn good film to boot.
(First published in MiD Day)
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