LFF 2020: One Night In Miami
LFF 2020Regina King's One Night in Miami is a strong and effective directorial debut. It is both personal and evocative in range. King's film, thankfully, never falls into parody or caricature. However, it is a film that proceeds as a pressure cooker of thematic mood that feels both anti-climactic and underwhelming after an initial viewing.
First and foremost, for a directorial debut, this is nothing short of excellent from Regina King. This is not only both an incredibly controversial and challenging subject matter to tell in the first place, but for a first feature, it is in no way a cheap or easy option for King to dip her toes into. The actress effectively jumps in at the deep end instead of testing the waters, and the result speaks for itself. She showcases an undeniable range in skill and craftsmanship behind the camera.
Arguably one the strongest and easiest elements for King to conquer here is the structure. Adapting this material from Kemp Powers’ 2013 play of the same name offers a strong base to start from with pre-existing material that is primarily a character-based study. It already limits the need to over indulge when it comes to justifying the characters.
This way, the depth and material of the characters are cemented in the screenplay of the film. King is allowed to flutter with the structure and production design from Barry Robison, of which are partnered in an effective and restraint manner. Nothing here is overly excessive, including both the aesthetic and set design. To describe it as simple may sound like a backhanded compliment, but with a period piece, the temptation to overindulge is an easy and much-afforded element. King, however, keeps it safe and straightforward, always doing the period justice but never overindulging or taking away from the thoughts and voices of the central characters.
That being said, with the play-like aesthetic implemented, for many, One Night in Miami is a film with five characters just talking, and to that degree, it would be hard to argue against. Nevertheless, with how the material is presented and with the performances on offer, this pessimistic take could not be further from the truth.
Having to play an icon is hard enough, but having to play cinematic icons such as Malcolm X and Muhammed Ali is another task entirely. First and foremost, Aldis Hodge and Leslie Odom Jr. as Jim Brown and Sam Cooke, respectively are tremendous. Both actors are slowly but surely beginning to knock down the mainstream door and once again present dynamic and scene-stealing performances. Odom Jr. for one is stunning here. The sheer emotional radiation and ability he showcases is genuinely awe-inspiring and is undeniably a performance in line for award recognition when it comes to the race for golden statuettes.
Kingsley Ben-Adir and Eli Goree, on the other hand, as Malcolm X and Cassius Clay are a little more complicated. Beginning with Goree, the might and iconic status of having to play Cassius Clay is less complicated due to small pre-existing memorable performances allocated to this particular role. Yes, Will Smith's titular performance in Michael Mann’s Ali is one that comes to mind, but through the years, the only interpretation of Clay or Ali has been the man himself. Goree cannot shift from the power of Ali's charisma and shadow. Granted, he does a fairly adequate job of bringing this character's quirks to life, but it is nothing compared to the icon himself. Again, to no detriment of Goree or his talents.
Kingsley Ben-Adir as Malcolm X, however, draws the short straw. It is hard to see any performance as Michael X past that of Denzel Washington's iconic and genre-defining performance in Spike Lee's 1992 titular film. At no fault of his own, Ben-Adir is fighting an uphill battle but, above all, sense puts forward a multifaceted and robust take on the controversial political figure. It isn't in the same realm as Washington's performance, but given almost two hours less of screen time and material to dig a lot deeper, Ben-Adir triumphs with what is afforded to him.
That being said, it’s the material presented that elevates the mundane and pessimistic view of just watching five icons discuss social issues and their own future, and this is where the film comes slightly unstuck. At no fault of her own, King's film has little to no nuance. Every single piece of monologue or foreshadowing feels both forced and predetermined with check-listed output. Not that it bores, but it is an attribute that distils predictability and uneventfulness in its loins.
Before long, One Night in Miami falls into the problematic hole of being a film that lacks a voice or thematic output. A film that, on the surface, feels as if it is saying or standing up for something but, in the end, implements its full stop at the point of where and what the feature demands to be told. This is a difficulty of having to adapt pre-existing material no doubt, but One Night in Miami is a film that rests on one set piece which fails to engulf a life and soul.
