Release: Christmas Day 2013
Nelson Mandela. Now there’s a name that has ‘Hollywood movie’ written all over it.
With the passing of such an extraordinary figure a mere month ago, the moment doesn’t seem to be any riper for a major motion picture about him to be sweeping across the globe. While it’s pretty difficult to conceive of this international release date being any more strategic than just being a ‘Christmas Day release’ (that’s a profitable enough decision to begin with), some of the more pessimistic of us are inclined to speculate that perhaps someone on the inside knew about certain developments in their subject’s health, on a medical level, on a level most of us wouldn’t care to know or recognize as being true. With the saddening foresight that this man might not be around for much longer, why not use that as leverage to potentially gain an even bigger audience?
That is, of course, to suggest: what would the box office turn-out be if this film was released, say this past summer? Next summer? Two Septembers from now? Would a later release date help the film fulfill its potential to move audiences?
Most people probably don’t think of movie releases being manipulative. And yet reality dictates that, with a time frame such as this (Mandela dying twenty days prior to the release), the subject would suddenly become more relevant; the potential for emotional connectivity would become much greater. If we didn’t have to come to terms with Nelson Mandela no longer being with us, this Christmas release would otherwise seem a little arbitrary.
Unfortunately, all of that is pure speculation. Some readers are probably shaking their heads at the level of cynicism on display. I don’t blame those people for thinking I’m overanalyzing the situation, but I think I’m going to stand by my conviction that Hollywood’s suits (i.e. some of the happiest people on Earth) really dug the idea of this suddenly becoming a much more timely tribute to Mandela. Especially when the film’s screenplay seems to support my perhaps off-kilter views.
At two hours and twenty minutes in length, Long Walk to Freedom is really a long sit. It overstays its welcome, a concept that must be difficult to believe if you have yet to see this, because it deals with one of the world’s most influential human rights activists. How, pray, does a topic like this wear thin?
Oh, how it does. . .
Written more as a thoroughly-detailed biography special on the History channel, director Justin Chadwick’s ambition isn’t to blame, entirely. As one can imagine, he had to sift through a tremendous wealth of information about the subject and the climate of South African politics of the time, so perhaps the condescendingly low-brow style of the film should be forgiven. Though this too often has the feel of a history class lecture, there’s ultimately nothing inherently wrong with that. It’s just not the film most are going to be expecting when it features one of the most rapidly-rising British stars at this moment.
The film is almost saved by London-native Idris Elba’s authentic portrayal of Mr. Mandela. Naomie Harris vies for some potential nominations as well, as she steps inside the role of Winnie Madikizela, Nelson’s second wife, an extremely frustrated woman who turned to more radical and violent measures of fighting for her fellow oppressed people. With both leads clearly committed to giving the film some gravity — Elba’s heavily-covered-in-make-up facial expressions are on multiple occasions heartbreaking and are effective in visually demonstrating the burden the real life figured carried with him for his long, long life — Long Walk can’t be dismissed completely as a ‘bad’ film.
Perhaps a more accurate description of the experience is underwhelming, which is a crime unto itself. Chadwick makes sure he maintains a reasonable number of inspirational quotes from the man himself, but it looks like we, the folks who were hoping to learn something about this iconic figure, might have to wait a few more years before being treated to the proper Mandela biopic. With absolutely no offense to the two lead performers — since they are virtually the only reason this film bears significance at all — Long Walk feels much too rushed, another sign this was a product of emphatic marketing to the public.
Elba and Harris do all they can with the material, but even their own personal, strong convictions about who their characters were drown in a sea of mediocrity and obligatory sentimentality.
Recommendation: It’s hardly an offensive film, even considering how middling the end results are. If you know literally nothing about the man (if that’s the case, shame on you) you will come away with a newfound respect for the struggles of these people and this man in particular. But if you’ve done any research whatsoever about this troubling bit of history, you’re not likely to be as moved by his dramatized on-screen plight. And to me, that just ain’t right.
Running Time: 139 mins.
Quoted: “No person is ever born hating another person because of the color of their skin. People learn to hate. They are taught to love, for love comes more naturally to the human heart.”
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