Video review: "Harriet"

“Harriet” hasn’t been in the awards spotlight as much as it deserves. For me, there was no more powerful emotional journey in a movie this year than the story of Aramintra Ross, better known as Harriet Tubman, an icon of the Underground Railroad.

Tubman guided dozens of slaves to freedom, as she herself had made the harrowing journey as a young woman. She’s become such a mythical figure that the real woman behind the history text has been somewhat lost. Director Kasi Lemmons, who also co-wrote the screenplay with Gregory Allen Howard, breathes life into the legend.

Cynthia Erivo is amazing as Tubman, who gradually transforms from a timid, passive woman to a tough, no-nonsense leader of men.

Many people will be astonished to learn that Tubman was actually married at the time of her escape, to a freed black man no less (Zackary Momoh). But she remained a slave, having already seen her three older sisters sold like cattle and lost forever.

Joe Alwyn plays Gideon Brodess, the eldest son of the family that owns her. They grew up together as childhood friends, and it becomes clear as he becomes the patriarch of the clan that Gideon harbors a twisted obsession with Harriet. Sensing what is to come, she escapes to Philadelphia and falls in with the abolitionist movement.

During her missions to retrieve more slaves, Harriet wears men’s clothing and sings out to them in a resonant voice, old hymns about the slaves throwing off the yoke of the Egyptian pharaohs. Soon there is a large reward on the head of “Moses,” as the slave hunters come to call her.

Lemmons and Erivo go beyond mere biography to delve into the soul of a woman who felt a calling, and claimed to commune with God. “Harriet” takes a two-dimensional legend and gives her breadth and depth.

Video bonus features are not expansive but are quite nice. There is a feature-length commentary track by Lemmons; deleted scenes: “Her Story,” about the three women filmmakers who were key to bringing this story to the screen; and “Becoming Harriet,” an in-depth look at how Erivo built this character.

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Review: "Harriet"

We have a tragic tendency to sanitize great American historical figures, usually to their benefit but mostly to our own detriment. The unwillingness to see George Washington or Thomas Jefferson as complete human beings seems to take one of two forms: deifying them to the point of absurdity or trying to hold their failings as evidence of utter moral decrepitude.

Harriet Tubman is ripe for reexamination as a complicated figure. Taught in the history books as a saintly lady who was a key “conductor” on the Underground Railroad bringing slaves to freedom, Tubman has been revealed in more recent scholarship as a rough, pistol-packing woman capable of great egotism and jealousy.

“Harriet” is the vibrant new cinematic portrait of Tubman played by relative unknown Cynthia Erivo, who won’t stay that way long. Director Kasi Lemmons (“Eve’s Bayou”), who also co-wrote the screenplay with Gregory Allen Howard, has delivered a bravura film that is part reverence, part religion-tinged redemption and part action/adventure.

It’s a compelling, complex biopic.

The story begins in 1849 Maryland, where Aramintra “Minty” Ross was born to slave parents held by the Brodess family, though her father (Clarke Peters) later earned his freedom. Minty was also allowed to marry another free black, John Tubman (a soulful Zackary Momoh), but remained in bondage after the patriarch of the slave owners died and the yoke passed to the spiteful son, Gideon Brodess (Joe Alwyn, utterly chilling).

The film actually follows the historical record pretty closely, with obvious fictionalized portions to fill in the gaps. So there are created figures like Walter (Henry Hunter Hall), a charming rapscallion slave tracker who walks the line between friend and foe, and the much scarier Bigger Long (Omar Dorsey), who seems to regard returning slaves to bondage as his personal calling.

Other aspects of the story that might seem like Hollywood hokum are actually part of the historical record. For example, that Minty was injured by a heavy object thrown by a master splitting her head open as a girl that left a dent in her forehead, and was prone to somnambulist spells the rest of her life where she would go into a daze.

It was during these times that Tubman claimed to commune with God. “The hole in my head just made God’s voice more clear,” she says.

Emotionally rent by already having three older sisters sold and lost to the family forever, Minty resolves not to let the same happen when Gideon means to sell her away down south. She runs away to Philadelphia, a harrowing journey assisted by kindly black preacher (Vondie Curtis-Hall) who cites Biblical scripture about slaves honoring their masters during the day but preaches a different tune when white folks aren’t around.

There she meets and allies with noted abolitionist William Still (Leslie Odom Jr.) and finds friendship with Marie Buchanan (Janelle Monáe), a sympathetic but privileged black hotelier.

The film’s strongest sections relate to Tubman’s escapades back to Maryland and other slaveholding states to rescue other slaves, her legend steadily growing. Because she dresses in a man’s clothing and sings hymns about slaves freeing themselves from the Egyptian pharaohs, she is given the name of Moses by the slave masters. For her part, Minty takes her husband’s last name and her mother’s first to form her own “free name.”

It’s a wonderful, rich story, and at the center of it all is Erivo as Harriet.

The actress plays her as a woman born to believe she is nothing, but her faith and resolve eventually force her to strive against a system that is evil and unjust. Especially haunting is the strange relationship she has with Gideon, who grew up with her as children and clearly covets her for more than her cash price.

She begins the film with eyes wide and fearful, and as time goes on her gaze gains a hard glint. The legend of Harriet Tubman has grown to titanic size, but “Harriet” shows the extraordinaire real woman who begat centuries of stories. This is one of the year's best films.

Review: "Murder on the Orient Express"

The remake of “Murder on the Orient Express” starts slow, chuffing away and spinning its wheels with little forward movement, but gradually builds a head of steam. It propels us through the usual twists and turns of a classic whodunit, as a dozen suspects are queried and sorted in the search for a killer.

By the end of the film, it has completely transcended the murder/mystery genre and become an emotionally affecting treatise on right and wrong, evil deeds and revenge.

I wasn’t expecting this movie, but I confess I wasn’t expecting much at all. I’ve neither read the book by Agatha Christie nor seen the 1974 film version.

(I assure you I mean to: it’s currently sitting in my Netflix DVD queue. Yes, some of us still pay for the shiny disc plan.)

Kenneth Branagh directs and stars as the famous Belgian detective Hercule Poirot -- everybody wants to call him “Hercules” -- an ostentatiously mustachioed gentleman whose courtly demeanor hides a mind as troubled as it is brilliant.

Poirot is vexed by “imbalance” -- whether it be a tie knotted askew, two boiled eggs for breakfast that are not the same size or a plot to take another human life. People wonder at his marvelous deductions, but as he explains to an admirer, when things are not perfectly aligned it stands out to him as plain as the nose on your face.

Even if, like me, you are innocent of the book and other movie, you probably know the basic plot: Poirot is plopped onto a train full of colorful characters, and one of them turns up gruesomely dead. Trapped by an avalanche that has derailed the locomotive, they stew together as the masterful investigator sifts through the evidence, which includes a torrent of lies and misdirection.

Michael Green provides the screenplay, which near as I can figure follows the book and other film pretty closely. The ethnicities and vocations of a few of the characters are shifted around, but the basic dynamics remain the same.

This is billed as one of those classic “all-star casts” -- though, truth be told, it’s more like half a cast of stars, most of them faded, a quarter recognizable character actors and a quarter you’ve never heard of.

Johnny Depp is the biggest name, playing a slimy, scarred American businessman named Ratchett. Michelle Pfeiffer turns up as Caroline Hubbard, an often-divorced woman apparently looking for her next sugar daddy, and Poirot is her prime candidate. Josh Gad is Hector MacQueen, Ratchett’s resentful secretary, and his manservant, Masterman, is played by Derek Jacobi.

Judi Dench, alas, is given little to do as a snooty displaced Russian princess, though Daisy Ridley delights and surprises as Mary Debenham, a smart and resourceful governess. Lucy Boynton and Sergei Polunin are addled dancers/diplomats/royalty.

Willem Dafoe plays Gerhard Hardman, a xenophobic German scientist, and Leslie Odom Jr. plays Arbuthnot, a black British doctor. Penelope Cruz is Pilar Estravados, a nurse turned missionary whose job is to make devilish pronouncements about the evil that men (and maybe women) do.

It’s a sumptuous movie of gorgeous costumes and exquisite settings. The Orient Express is not some railway for bumpkins, but a four-star hotel for the rich on wheels. Somehow even after the train engine is stopped, there’s still plenty of heat and five-course meals.

I’ll admit the turnabouts of the plot started to grow a little tiresome for me -- “It’s him! No, it’s her!” -- but the movie really starts to gel just past the midway point. Poirot is basically a human Google: he knows everything about everyone, everywhere.

I wouldn’t think to give any hints about the ending, other than to see it’s a humdinger. Forty years after it was a movie, and 40 more for the book, “Murder on the Orient Express” still has surprises aplenty.

Video review: "Red Tails"

 World War II movies are something I just can't get enough of, and well-done films that focus on the war in the air are few and far between. Aviation films made during and in the years after the war tended to rely on stock footage for the combat scenes, with results that felt constrained by their eras.

Strange that now that Hollywood has all sorts of computer-generated tricks up their sleeves, they haven't tried very often to go back and tell some of these stories with more engaging fighting scenes. "Red Tails" attempts exactly that.

This movie, produced by George Lucas and with CGI provided by his legendary Lucasfilm special effects studio, contains some of the best air combat scenes ever captured on film. Imagine the best video game every made, and "Red Tails" puts you in the cockpit as American pilots engage in dogfights and bombing runs.

It's pulse-pounding, engaging stuff.

Alas, the characters and storyline have all the depth of a video game, too. Ostensibly the tale of the all-black pilots from the Tuskegee training program, "Red Tails" in actuality is an amalgamation of seemingly every cliché ever contained in a war movie.

The troubled squadron leader with a drinking problem? Check. The bed-hopping lothario who thinks he's fallen for The One? Check. The wild hot dog ace who suddenly loses his nerve? The racist white general trying to keep the African-American heroes from earning their glory? Check, check and check.

It's too bad that anytime the movie isn't in the air, the audience will want to check out.

Say what you will about Lucas' wobbly instincts as a filmmaker, but the man knows how to load up a video release with goodies. The Blu-ray/DVD combo pack of "Red Tails" is stuffed with all sorts of extras, including "Double Victory," a documentary on the actual Tuskegee Airmen.

There are also featurettes on director Anthony Hemingway, composer Terence Blanchard, the entire cast and Lucas himself. Other features focus on the creation of those amazing air combat scenes.

Movie: 2.5 stars out of four
Extras:3 stars