“Marshall”

LOUISA:

LOUISA SAYS:

The story of Supreme Court justice Thurgood Marshall’s early career is the focus of “Marshall,” a conventional biopic that’s mixed with a straightforward court procedural about a 1941 rape trial. The sensational case pitted Connecticut socialite Ellie Strubing (Kate Hudson) against her black chauffeur Joseph Spell (Sterling K. Brown).

The driver was represented by Marshall (Chadwick Boseman), a young NAACP attorney who later became a monumental figure in the civil rights era. During the trial, Marshall partnered with inexperienced Jewish lawyer Samuel Friedman (Josh Gad) and the pair faced bigotry from their opposing counsel (Dan Stevens) as well as disgust from the general public.

Boseman and Gad are a likeable enough pair, playing off each other like a cinematic odd couple, yet their ultimately forgettable performances rival Reginald Hudlin‘s uninspired direction. This is a traditional, by-the-numbers story that feels more like a stage play than a film; a movie that seems slightly undeserving of a theatrical release.

Not much about this project is exciting or compelling, but the best parts come when a couple of strong scenes convey what a naturally talented lawyer Marshall was, including an effective jury selection bit where the young lawyer’s ability to read people comes as a second nature. Although based on a true legal case, it doesn’t provide the most compelling introduction to Marshall (and the abrupt, cheerful conclusion is off-putting). The story only glosses over the surface of this man’s amazing life and his legal contributions to our country, which is briefly summed up in an all too tidy, tacked-on ending.

The elephant in the room here is the wildly inappropriate music choices and original score. It’s so out of place that it continuously detracts from the story. It starts with the odd opening with period swing music accompanying grim themes, and it goes downhill from there with repeatedly cheerful tunes or upbeat harmonies paired with heavy subject matter like scenes of rape and bigotry. The musical cues tell the audience to feel the exact opposite way of how they should, and I see no artistic reason for it. Thankfully the music makes much more sense in the second half of the film, where we get a deliberate piano score.

Comparisons to our current political climate regarding race relations are inevitable, and the film touches on how African-Americans have been disenfranchised by our legal system for decades. Still, it’s a bit of a joy to see a black history movie that’s not about the horrors of slavery and one where the stereotypical “white savior” doesn’t swoop in to save the day. Heck, it’s enjoyable if solely for the chance to see the legal system not fail a black man. Instead, the film is empowering and positive, with beautiful quotes like “the only way to get through a bigot’s door is to break it down.” I didn’t love the movie, but I certainly respect that message.