Category Archives: Social Issues

1967 Films, Drama, Romantic Drama, San Francisco, Social Issues

Guess Who’s Coming to Dinner-1967

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Guess Who’s Coming to Dinner-1967

Director Stanley Kramer

Starring Spencer Tracy, Katharine Hepburn, Sidney Poitier

Scott’s Review #1,539

Reviewed June 29, 2026

Grade: A

Guess Who’s Coming to Dinner is a groundbreaking, socially themed film made in 1967, in the midst of the Civil Rights movement that was sweeping the United States.

The rights aimed to abolish legalized racial segregation, discrimination, and disenfranchisement in the country, which most commonly affected African Americans.

So, the time was perfect for a star-studded film of this caliber.

The screenplay by William and Tania Rose is rich with character motivation and development.

Both the characters themselves and audiences can understand the perspectives of each of the six prominent characters as they slowly explain their thoughts and, at times, their underlying unconscious biases.

At the time of release, the film was understandably a commercial and critical hit during a fabulous time in cinema.

On the threshold of increased creative richness in the 1970s, the late 1960s were the building blocks to expressionism and tremendous cinematic thought.

The film was one of the first to depict an interracial marriage in a positive light.

While a film like Guess Who’s Coming to Dinner would be dated if made in 2026, sadly, lots of blatant racism and discrimination still exist in the United States, though we have certainly made progress.

Joey Drayton (Katharine Houghton) is a young, free-thinking white woman from a wealthy family in San Francisco. She and a successful black doctor, John Prentice (Sidney Poitier), become engaged.

In addition to their racial differences, he is much older than she is and has been married once before.

They nervously fly to San Francisco to meet her parents and break the news, and they are to be married two weeks later in Switzerland.

Matt Drayton (Spencer Tracy) and his wife, Christina (Katharine Hepburn), are open-minded liberals who must confront the many issues and feelings the impending marriage arouses.

Also attending the Draytons’ dinner are Prentice’s parents, John Sr. and Mary (Roy E. Glenn Sr., Beah Richards), who vehemently disapprove of the relationship.

Other supporting characters, like the kindly Monsignor Mike Ryan (Cecil Kellaway), a white male, and the efficient yet unfeeling black housekeeper Tillie (Isabel Sanford), offer differing perspectives on the union.

While the interracial pairing is front and center, the set pieces and artistic design are flawless, offering a looming backdrop of San Francisco.

Frequent scenes occur on the family terrace, lush with bright flowers, images of the Pacific Ocean and the Golden Gate Bridge, and, in one sequence, a rich orange hue amid a dazzling sunset.

To say nothing of the lavish family estate with exquisite art, furniture pieces, and grand rooms all on display during the film.

Director Stanley Kramer deserves praise for these elements and many more, as the film is woven together tremendously well.

The acting is flawless all around, with the top honors going to Hepburn and Poitier.

A poignant scene in which Christina (Hepburn) remembers how happy Joey always was as a child, and how her past happiness pales in comparison to how happy she is now, will bring any viewer to a soggy mess as Hepburn slowly tears up.

Poitier shows his strong range during John’s knockdown, drag-out argument with his father, exclaiming how he owes nothing to his father, and a father’s role is to want the best for his child and to let his child make his own choices.

While Mike thinks nothing but beauty from the union, Tillie is outraged at the nerve of John to mix with white wealth. She shockingly calls him ‘boy’ and scolds him for thinking above his ‘station in life’.

With Tillie and John Sr., we see that bias and racism are not always exclusive to the white community. Black people also see color and prejudice.

This point is the film’s genius, as most of the characters undergo deep dives and learn about themselves, for better or worse.

Some fun facts are that Houghton is the niece of Hepburn, and the film is Spencer Tracy’s final role, having battled illness throughout shooting, but insisting on finishing the film.

Guess Who’s Coming to Dinner (1967) challenges the norms of the times amazingly well, and the brilliance of the acting holds up decades later.

Oscar Nominations: 2 wins-Best Picture, Best Director-Stanley Kramer, Best Actor-Spencer Tracy, Best Actress-Katharine Hepburn (won), Best Supporting Actor-Cecil Kellaway, Best Supporting Actress-Beah Richards, Best Story and Screenplay-Written Directly for the Screen (won), Best Art Direction, Best Film Editing, Best Original Song Score or Adaptation Score

2002 Films, Best Feature- Independent Spirit Award Winners, Connecticut, Drama, Favorite Film of the Year, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, Social Issues, Top 250 Films

Far From Heaven-2002

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Far From Heaven-2002

Director Todd Haynes

Starring Julianne Moore, Dennis Haysbert, Dennis Quaid

Top 250 Films #127

Scott’s Review #332

Reviewed January 8, 2016

Grade: A

Far From Heaven (2002) is a gorgeous film, set in 1950’s upper-class, sophisticated Connecticut, that tackles not one but two separate social issues in a wonderfully crafted story.

An interracial couple fraught with discrimination, and a homosexual husband hiding his secret lifestyle, encompass this amazing film by acclaimed director Todd Haynes.

In the years to follow, Haynes would also direct masterpieces in a similar period (and story) to Carol (2015).

For starters, the cinematography and art direction are breathtaking- the beautiful and colorful small town in Connecticut, on the surface, prim and proper, is oozing with secrets and scandal just waiting to bubble to the surface.

An aerial view of the town allows the viewer to see it in a sweeping motion, perfectly carved.

Far From Heaven contains many similarities to All That Heaven Allows, made in 1955, and also focuses on a great scandal in a small, seemingly idyllic New England town.

Cathy Whitaker (Julianne Moore) seems to have everything perfectly styled and kept at home in affluent Connecticut: a successful husband, Frank (Dennis Quaid), an advertising executive, beauty, and a neighborhood filled with friends.

One night, when Frank is working late, Cathy surprises him with dinner at the office, only to be surprised herself by catching Frank passionately kissing another man.

In an awkward scene, Frank admits to Cathy that he needs conversion therapy, but instead turns to alcohol and continues to see men secretly.

Devastated, Cathy befriends her gardener, Raymond Deagan (Haysburt), a handsome black man, and slowly begins a relationship with him.

Needless to say, this causes gossip and scandal amongst the townspeople.

Far From Heaven is fantastic storytelling, weaving together, in essence, two main social stories.

Frank questions his sexuality, is afraid to admit he is gay, and risks his reputation and career. Undoubtedly, he is a tormented individual, and we see him slowly come to terms with his sexuality.

Haynes, fantastic at crafting a worthy story, carves a similar tale in 2015’s Carol, only she is a woman confident about her sexuality, but hiding it from society.

Since the time in both films is the 1950s, the sexual revolution has not occurred, let alone anything gay-related.

The central story, though, belongs to Cathy, and Julianne Moore portrays her to perfection. I would argue that Cathy is Moore’s best role, along with Amber Waves from Boogie Nights.

Hurt and betrayed by her husband, she suddenly is filled with new and dangerous emotions- falling in love with a black man in a not very open-minded time.

Moore and Haysbert have fantastic chemistry from their very first scene together.

I love how Haynes showcases the perfection of the town- the lawns are perfectly mowed, the flower beds flawless, and everyone appears cheerful and colorful.

But when something in their little town becomes amiss (in this case, Cathy going against the grain), the fangs come out, and the animals bear their teeth.

A wonderful scene showcases Cathy and Raymond slow-dancing in a black-only bar. They sway as one, and the black patrons accept Cathy.

Raymond (and his daughter) are not treated the same way by the white folks of the town once they catch wind of the shenanigans going on between the interracial couple.

Far From Heaven (2002) is a beautiful film, from the way it looks and is shot to the powerful performances throughout.

Moore may be the star and the central character of the film, but Quaid and Haysbert certainly deserve their due.

They each give layered performances as wounded and tortured men, and the conclusion of the film- perceived as open-ended- is also not a happily ever after climax.

Oscar Nominations: Best Actress-Julianne Moore, Best Original Screenplay, Best Original Score, Best Cinematography

Independent Spirit Award Nominations: 5 wins-Best Feature (won), Best Director-Todd Haynes (won), Best Female Lead-Julianne Moore (won), Best Supporting Male-Dennis Quaid (won), Best Cinematography (won)

2007 Films, Comedy, Musical, Musical Comedy, Romantic Comedy, Social Issues

Hairspray-2007

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Hairspray-2007

Director Adam Shankman

Starring Nikki Blonsky, John Travolta

Scott’s Review #1,095

Reviewed December 28, 2020

Grade: B+

Hairspray (2007) is a fun film, without being superfluous. The third incarnation of the musical treat doesn’t disappoint, offering a brighter production.

A safer affair than the 1988 escapade directed by naughty filmmaker John Waters, it’s nonetheless not a “watered” version either. It loses none of the charm that the original had and includes plenty of big-name stars.

In short, it’s a solid summer popcorn flick with sing-along tunes and a cool vibe.

The important message of racial relations is not lost nor dismissed.

The setting is early 1960s Baltimore, Maryland, a city rife with racial problems representing the entire United States during that decade.

Our star, Tracy Turnblad (Nikki Blonsky) is a chubby, bubbly, sixteen-year-old, who wants nothing more than to trudge through the school day and come home and indulge in her favorite television show, The Corny Collins Show, a popular local dance competition.

Tracy auditions for a spot on the show and wins.

She became an overnight celebrity, a trendsetter in dance, fun, and fashion. She and her fans hope that her new status as a teen sensation is enough to topple Corny’s reigning dance queen, Amber von Tussle (Brittany Snow), and bring racial integration to the show.

Amber’s racist mother, Velma (Michelle Pfeiffer), runs the television station and thwarts Tracy’s efforts, fueling tension and a dance competition between Tracy and Amber.

The casting is a big part of the success.

Blonsky, making her film debut, carries the film flawlessly. Both energetic and empathetic, she is the perfect girl next door and relatable for any young girl who is not a stick figure.

More broadly, she represents anybody who feels like a misfit or is put upon for not being classified as perfect.

Her joy and sincerity as she sings and dances to “Good Morning, Baltimore” and “I Can Hear the Bells” is infectious and makes her a perfect protagonist.

The supporting cast is delightful and laden with A-list Hollywood stars having a ball with their over-the-top roles.

My favorite is John Travolta as Tracy’s mother and compadre, Edna. Fans of Hairspray know that Edna is always cast with a male actor in drag, and Travolta is fantastic. His mannish body and movements only make the character more fun and fabulous.

And with his beehive hairdo and pink ribbon, he is so darn cute!

Tracy’s father, Wilbur, is played by Christopher Walken. His love for his wife and daughter is sweet. Pfeiffer fuels her one-note character with venom as the racist woman gets her just due.

Director Adam Shankman focuses on the musical numbers, and that’s just fine.

For added pleasure, he includes both John Waters and Rikki Lake (the original Tracy) in cameo roles, which is a treat for anyone who has seen the original.

The best numbers occur when the entire company joins in, especially the wonderful finale, “You Can’t Stop the Beat”. Besides being musically contagious, the song sends an important message of progression and embracing change.

Despite the fluffy trimmings, the important message of racial inequality is not overlooked, nor does it feel dated in the year 2007.

Racism is still an issue. Justifiably so, the racist characters like Velma and Prudence Pingleton (Allison Janney) look ridiculous with outrageous fear for anyone different than themselves.

Tracy and her friends champion causes such as anti-racism, integration, and being true to oneself, which are central themes of the film, along with the merry songs.

While I still prefer the 1988 version of Hairspray for its seedier a colder vibe, Hairspray (2007) is a colorful rendition that exposes a new generation to the chirpy, danceable tunes while maintaining the important themes.

It’s a family-friendly affair and a very funny experience without sacrificing any credibility.

1959 Films, Drama, Melodrama, Social Issues

Imitation of Life-1959

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Imitation of Life-1959

Director Douglas Sirk

Starring Lana Turner

Scott’s Review #918

Reviewed July 9, 2019

Grade: A-

The original film production, made in 1934, is based on a 1933 novel by Fannie Hurst. Imitation of Life (1959) is a relevant dissection of race relations, class systems, and gender roles, all of which still feel timely decades later.

The film is a fresh, progressive effort that sometimes teeters too much into soap opera land but is an important story to be exposed to.

The dynamics between the central characters in deliciously raw scenes are the most significant part of the film.

Lora Meredith (Lana Turner) is a widowed, stylish New York woman with dreams of becoming a Broadway star.

One day, she meets a lovely black woman, Annie Johnson (Moore), on the beach, and the women become fast friends, each having a daughter around the same age.

The women decide to move in together for financial reasons and to further Lora’s chances for success in the entertainment industry. Lora begins a casual romance with handsome Steve Archer (John Gavin).

Eleven years pass, and Lora is now a big star, living in a luxurious New York house and flocking to film locales in Italy. Annie continues to live with her, serving as her housekeeper and confidante.

The girls are now teenagers with issues of their own. Susie (Sandra Dee) has developed feelings for her mother’s boyfriend, while Sarah Jane (Susan Kohner), of mixed-race ethnicity, is ashamed of her black heritage and frequently can pass for white.

The trials and tribulations of all are played out throughout the film.

Imitation of Life has two key distinctions and focuses on each separately. Since the story is set in 1947 and the film was released in 1959, before the Civil Rights movement of the 1960s, the racial story is poignant and truthful and the main draw.

Sarah Jane is embarrassed to be black, and her eventual abandonment of both her life in New York and her mother can be deemed reprehensible if not for the times. Her regrets come too little too late, but Kohner nonetheless infuses much sympathy into her complex role.

The second central aspect of Imitation of Life is more mainstream and dramatic, easily more accessible to the public than the former. This is why some misunderstood or even dismissed the film as melodramatic.

Lora is glamorous, well-dressed, always stylish, and poised, and soon, Susie grows jealous and resentful of Lora’s achievements and the attention she receives from men at every turn.

This invokes a female rivalry with pure 1950s Hollywood glitz. It seems manipulative and naughty, using bright colors, dazzling costumes, and flair to promote excess drama.

As tremendous as Kohner is, Juanita Moore knocks it out of the park and does the best acting job out of all the principal performers. Her frequent dramatic scenes are filled with emotional bombast without the actress ever going over the top.

Instead, she keeps her composure, earning her well-earned Best Actress Oscar nomination for no other scene than the heartbreaking mother/daughter showdown in a California hotel room.

When Moore’s Annie is mistaken for Sarah Jane’s maid instead of her mother, the pain and worry are clear as she realizes she has lost what she knew of her daughter for good. She returns to New York an older woman with a broken heart and spirit, both defeated and deflated.

The last sequence is challenging to watch as tragic results and a coldness encompass the film.

The prevalence of more than one suitor for Lora and the implication that she could have up to three, including her agent Allen and playwright David, while Annie has none, is absorbing.

This point is slightly bothersome, and a missed opportunity—or at least the potential for one—as a male companion for Annie might have changed her life forever.

The film is faithful to the novel, but how wonderful it is to imagine Annie being treated to a more admirable life while finding true love.

Imitation of Life (1959) is a film treasure with subtle and not-so-subtle nuances and bold, powerful storytelling enveloping the entire experience.

Although the film suffers from a sometimes too-suds-like mass-appeal approach and too much focus on melodrama, it nonetheless does not abandon its social-issues theme, especially given the harsh treatment of minorities during this period.

No other film deals with the psychological turmoil of mixed race like Imitation of Life does.

Oscar Nominations: Best Supporting Actress-Susan Kohner, Juanita Moore

Golden Globe Nominations: 1 win-Best Performance by an Actress in a Supporting Role in any Motion Picture-Susan Kohner (won), Juanita Moore

1945 Films, Alcoholism, Drama, Film noir, Social Issues

The Lost Weekend-1945

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The Lost Weekend-1945

Director Billy Wilder

Starring Ray Milland

Scott’s Review #856

Reviewed January 10, 2019

Grade: A

Billy Wilder, considered one of the most influential directors of the Hollywood Golden Age of cinema (the 1940s), created a masterpiece that tackles a social issue that had never been explored.

The Lost Weekend (1945) tells a tale of alcoholism and the desperation and degradation of a person with an addiction. Wilder bravely goes where no film had dared to go with astounding results.

The film was awarded several Academy Awards, including Best Picture, Best Director, and Best Actor.

Don Birnam (Ray Milland) plays a New York writer left alone for one hot summer weekend. His brother Wick (Philip Terry) and girlfriend Helen (Jane Wyman) are aware of Don’s drinking problem, but leave for the weekend anyway when Don goes on a bender.

He spends each subsequent day desperate for liquor and in need of cash to purchase it. He resorts to theft and selling personal items out of desperation and the need for booze.

The story features flashbacks to events such as his first meeting with Helen and an embarrassing attempt to meet her parents for lunch.

The film is adapted from Charles R. Jackson’s 1944 novel of the same name.

Although it is a dark story that can be categorized as a downer, the film does not paint a glamorous picture of the pains an alcoholic experiences or the lengths he will go to out of desperation.

Before The Lost Weekend was made, drunkard characters in the film were primarily portrayed as either bumbling or as comic relief, so this character study is a welcome departure from tradition.

Milland is perfectly cast and effectively relays the troubled and desperate Don. Handsome, well-dressed, and professional, he is not the stereotypical image of a drunk.

Dressed in a suit and tie by all accounts, he does not fit the bill for a desperate man, but slowly begins his descent, spiraling out of control.

This makes Wilder’s message more potent as he shows that alcoholism can afflict anyone, even professional, intelligent men.

Milland, who resembles actor Jimmy Stewart, is supposed to be liked by the audience, eliciting a rooting factor even when he mistreats Helen. We want him to face his problems and recover.

Many glimpses of Manhattan are shown, and exterior shots are used plentifully. Wilder shoots the scenes as largely bleak and lonely, which aligns with the film’s overall feel.

Third Avenue looks desolate and isolated as we watch a desperate Don wander around, trying to sell his typewriter for booze money. He is grief-stricken when he realizes that it is Yom Kippur weekend and the pawnshops are closed.

The camera remains firmly fixed on Milland, showcasing a range of powerful emotions throughout the film.

The Lost Weekend (1945) was a groundbreaking film at its release. It is a serious and detailed tale of the life and times of an alcoholic.

With a superb acting performance by Milland, Wilder can darkly and frighteningly portray the world of a person with an addiction.

Decades later, the film is still cited as an inspiration by other filmmakers creating works about alcohol abuse.

Oscar Nominations: 3 wins– Best Motion Picture, Best Director-Billy Wilder (won), Best Actor-Ray Milland (won), Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture, Best Cinematography, Black-and-White, Best Film Editing

Golden Globe Nominations: 3 wins-Best Picture (won), Best Director-Motion Picture-Billy Wilder (won), Best Actor in a Leading Role-Ray Milland (won)

2005 Films, Best Picture Oscar Winners, Crime Drama, Drama, Independent, Independent Drama, Los Angeles, Social Issues

Crash-2005

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Crash-2005

Director Paul Haggis

Starring Sandra Bullock, Matt Dillon, Thandie Newton

Scott’s Review #799

Reviewed August 3, 2018

Grade: A-

A superior film that has unfortunately suffered greatly after controversy, Crash (2005) is a story of intersecting vignettes, all interrelated.

The controversy stems from the film’s very surprising Oscar win over the heavily favored Brokeback Mountain. Many thought the latter was a shoo-in, poised to set the LGBT genre ahead of the game.

Sadly, now, when film lovers discuss Crash, it’s usually in tandem with Brokeback, and usually on the heels of its having stolen the Oscar crown.

On its own merits, the film excels as a social story exploring the many facets of race, racism, and bigotry.

The events in Crash take place within one thirty-six-hour day in metropolitan Los Angeles.

Featuring a slew of characters that would even impress Robert Altman, the audience witnesses situations involving many races and backgrounds.

We meet Rick and Jean Cabot (Brendan Fraser and Sandra Bullock), a white, affluent couple who are carjacked when driving home from dinner.

The black men who carjack the couple then strike a Korean man and bring him to the hospital.

A racist police officer, John Ryan (Matt Dillon), cares for his troubled father, who cannot afford insurance. A Persian father and daughter wish to buy a gun for protection, and a Hispanic father (Michael Pena) worries about a rash of drive-by shootings.

The stories go on and on as a myriad of characters come into situations involving other characters.

The interconnecting stories all cascade into overlapping situations of interest. The point of Haggis’s film is racism, but with a creative twist.

The director points out and shows that those who are racist have good qualities too, and those who are discriminated against in turn discriminate against others themselves.

The most interesting character is Dillon’s, John Ryan.

On the surface, a racist, wise-ass, who in one scene embarrasses an affluent light-skinned black woman (Thandie Newton), simply because he carries a gun, then ends up saving her life in a horrific car accident.

But is he redeemed? Does he see the world as black people getting ahead, and he is left behind?

What about the Persian man, discriminated against, but then vowing revenge on a Hispanic man after a misunderstanding?

The black men who carjack the white couple then release a group of immigrants who will surely be sold, perhaps even for sex trafficking. Does this act make the men good?

The point Haggis makes is that each character is neither all good nor all bad, but rather complicated and nuanced, with emotions shaped by past experiences and by discrimination itself.

Crash is highly similar to Traffic (2000) and Babel (2006) in terms of pace, style, and the way the stories align. The film is different, however, in that the location is strictly confined to Los Angeles, making the setting of monumental importance.

How would events be different in a setting like Middle America? Or in a different country? These possibilities are worth considering, given that Los Angeles is one of the most diverse cities in the United States.

If racism occurs there, it can occur anywhere.

Now, more about that pesky Oscar controversy! In later years, critics would largely agree that the inferior film had won that year, and Brokeback Mountain lost due to a level of homophobia on the part of the voting academy.

Since the academy is filled with Hollywood liberals, albeit of an older generation, an alternative way of thinking is that perhaps Crash won because it was the “safer” film.

Everyone seems to have forgotten the other three nominated films that year. Alas, Crash is permanently marred for winning Best Picture. It would undoubtedly have more supporters had it lost.

Ranked as one of the lowest-scoring Best Picture winners, I still believe Crash has some worth- though I agree that it should not have won over Brokeback Mountain.

Taken on its own merits, the film is quite good. A message film with great atmosphere, it succeeds in making the viewer think and ponder, perhaps their discrimination, whether conscious or subconscious.

The ensemble acting and character representations are all very good and worthy of a second watch.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Paul Haggis, Best Supporting Actor-Matt Dillon, Best Original Screenplay (won), Best Original Song-“In the Deep”, Best Film Editing (won)

Independent Spirit Award Nominations: 2 wins-Best Supporting Male-Matt Dillon (won), Best First Feature (won)

2009 Films, Best Feature- Independent Spirit Award Winners, Drama, Independent, Independent Drama, New York City, Social Issues

Precious: Based on the Novel Push by Sapphire-2009

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Precious: Based on the Novel Push by Sapphire-2009

Director Lee Daniels

Starring Gabourey Sidibe

Scott’s Review #581

Reviewed January 2, 2017

Grade: A

Precious is an amazing film and one of the best to come out in 2009. Due to the hype, I had high expectations entering the theater, and I was not disappointed.

The film is an in-your-face slug-fest with some of the rawest acting performed in recent years.

The marvelous aspect is that the film takes the viewer into a world that is probably not one’s own experience and makes them empathize with the characters.

The film is very disturbing at times, raw, gritty, and violent, but also has some light, humorous moments and is an important film to see.

There is a heartwarming charm that offsets the violence perfectly.

The story itself and the direction are basic, but the wonderful acting is what sets this film on a high pedestal.

Gabourey Sidibe, a relatively unknown and novice actress, gives an astounding turn as an unloved, overweight, pregnant teen mom.

Both of her parents abuse her in separate ways and seem to have a life of pain ahead of her.

Paula Patton, who has been in several fluff films, impresses as a teacher who takes a shine to Precious, and Mariah Carey is unrecognizable as a plain-looking social worker who is also a sympathetic character.

However, actress and comedienne Mo’Nique plays an unfeeling, brutal, violent mother to the hilt and holds nothing back. Her Best Supporting Actress Oscar win was deserving.

Everyone should see this fantastic slice-of-life film.

Oscar Nominations: 2 wins-Best Picture, Best Director-Lee Daniels, Best Actress-Gabourey Sidibe, Best Supporting Actress-Mo’Nique (won), Best Adapted Screenplay (won), Best Film Editing

Independent Spirit Award Nominations: 5 wins-Best Feature (won), Best Director-Lee Daniels (won), Best Female Lead-Gabourey Sidibe (won), Best Supporting Female-Mo’Nique (won), Best First Screenplay (won)

1962 Films, Black & White, Courtroom, Crime Drama, Drama, Social Issues

To Kill a Mockingbird-1962

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To Kill a Mockingbird-1962

Director Robert Mulligan

Starring Gregory Peck

Scott’s Review #468

1051852

Reviewed August 25, 2016

Grade: A

To Kill a Mockingbird is a 1962 film based on Harper Lee’s renowned novel. It was released only two years earlier, in 1960.

The novel was groundbreaking, and the film is equally so. Race and racism are front and center in the storyline.

The film is still a marvel because it tells the story through the eyes of a child, in present-day terms, and as an adult, as she reflects on her experience.

The film is set in the 1930s in a small Alabama town.

We follow the lives of Atticus Finch, a respected lawyer and father, and his two young children- Scout and Jem.

Gregory Peck, as Atticus, is the moral center of the film.

Scout (Mary Badham) narrates, and her innocence makes the story much more compelling and less like a preachy vehicle for a social topic.

The Finches are a tight family unit as Atticus is widowed, leaving Jem and Scout motherless. A poor black man, Tom, is accused of raping and beating a white woman, coached into the accusations by her racist father.

We accept that the woman had designs on Tom and, when caught by her horrified father, was beaten, with Tom left to take the blame.

Much of the film, but not too much, takes place in the courtroom, as we hear testimony by the poor woman, her father, and Tom.

Not to be missed is that every juror is a white man, a sad reminder of the racism that existed and one argues still exists, though not as blatant in today’s modern world.

One cringes when the black attendees are forced to sit in the upper portion of the courthouse, an obvious way to demean and lessen them, and which speaks volumes for the town.

We realize Tom does not have a chance, yet we hope against hope for his acquittal.

Wisely, I do not feel the point is the trial’s outcome—we know what will result. But the film teaches us a lesson about reality: life is often unfair and painful.

The after-effects of the trial are the most exciting part of To Kill a Mockingbird.

Gregory Peck was awarded the Best Actor Oscar in 1962 for his role as a liberal, progressive, and honorable man who can do no wrong and is an excellent example for his children.

A black maid, Calpurnia, works for him, and he treats her like family. I could not help but think she is the mother figure in Jem and Scout’s lives.

Atticus does the right thing, treating everyone fairly and living a moral life. He is an excellent example, and it is no wonder Peck won the trophy.

A subplot involves a mysterious neighbor, Boo Radley, feared by the town kids but turning out to be a protector and companion to Scout and Jem.

This role was the first for acclaimed actor Robert Duvall; the actor has a tiny yet important role and does a great deal of expressive acting without uttering a line.

The title of the film is poignant and essential to the ending.

The film is really about Jem and Scout and their quick journey into the pains and unfairness endured by adults. Once innocently enjoying the summer, playing games, and making friends with a visiting young boy, they are exposed to evil and a hate-filled racist town, which they slowly come to realize exists.

Filmed in black and white, this quality enhances the picture. The blowing leaves and dark shadows add much to the impressive cinematography and give the film a dark quality that color would have ruined.

The 1930s time period is very authentic.

To Kill a Mockingbird (1962) is a timeless film with an important message about the world. Children and adults of every generation should view it as a lesson in empathy and compassion.

The film is not ugly or raw but is truthful and still feels fresh. It will resonate with all audiences patient enough to give it a good watch.

Oscar Nominations: 3 wins-Best Picture, Best Director-Robert Mulligan, Best Actor-Gregory Peck (won), Best Supporting Actress-Mary Badham, Best Screenplay Based on Material from Another Medium (won), Best Music Score-Substantially Original, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White

Golden Globe Nominations: 3 wins-Best Motion Picture-Drama, Best Director-Motion Picture-Robert Mulligan, Best Performance by an Actor in a Motion Picture-Drama-Gregory Peck (won), Best Original Score (won), Promoting International Understanding (won)