With Amazing Grace, the new film about the courage and
conviction of the great abolitionist William Wilberforce, director
Michael Apted has restored my faith in the power of political action to
change the world for God's glory. And in doing so, he does something
even more remarkable: he restores my faith in the ability of the big
screen to portray religious characters without becoming too preachy or
sentimental.
While the film has a bit too much sweetener for the sake of
entertainment, and a few plot twists that smack of sensationalism (an
airbrushed romance, wild courtroom hyjinx), Amazing Grace get
far more right than wrong, and is a pleasant surprise in an otherwise
uninspiring season at the movies.
What does Amazing Grace get right?
Well, first and foremost, its heart is in the right place.
The film celebrates the value of valiant political action without
misleading us about the hardship and suffering that fall upon those who
determine to do the right thing. Wilberforce (1759-1833), suffered on
several fronts as he stood like David to the Goliath of British
Parliament, seeking to change their minds and hearts on the issues of
slavery. The film gives sufficient time and attention to the
complications of court proceedings. And we're left in no doubt that
Wilberforce's convictions took a toll on his health. He was only 21 when
he was elected to the House of Commons, but his long battle against the
slave trade ended only three days before he died.
The cross he bore... that is the focus of the film. (In fact, it opens
with him groaning under the burden of responsibility.) But while
Wilberforce may not have lived long enough to come out from under the
shadow of such persecution to bask much in the joy of his victories, it
is clear that he is strove with one eye fixed upon heaven. His treasure
lay there, his heart set upon pleasing God.
How often do we see Christian faith portrayed without cynicism? And when
Christians bring faith to the screen, how often are they so honest about
the hardships and unanswered questions that characterize the road of
faith? Far too often, movies about the power of faith end up being about
characters who want to improve things for themselves. Wilberforce's
story truly reflects the glory of Christ as we see him sacrificing so
much for to redeem others.
Amazing Grace also benefits from a smart screenplay by Steven
Knight. While the chronology of the film is a bit disorienting at times
(flashbacks and "four years later" updates keep us on our toes), it's
remarkable how many characters have wit and personality in spite of
their standard-issue period-piece costumes.
And the cast brings the script to vivid life.
Ioan Gruffudd may not have recommended himself for the part with his
work in Fantastic Four, but he's surprisingly engaging here.
He's definitely not the powerful orator that Wilberforce must have been,
but he makes up for that by drawing us into the angst and worry that
must have plagued the man as he fought formidable odds day after day.
In the role of "the girl," Romola Garai takes the implausibly ideal
character of Barbara Spooner, and makes her a charming romantic
interest, even if the man she's supposed to marry is too obsessed with
his work to have time for falling in love. Garai is a scene-stealer in
everything she does (although nobody has given her a role as juicy as
her first in I Capture the Castle), and she's radiant here.
But leave it to the veterans to steal the show. In every scene they're
given, Michael Gambon and Albert Finney mop the floor with everyone
else, creating memorable characters that are surprisingly different from
their other famous roles.
As the great reverend John Newton, who penned the famous hymn of the
title, Finney gives so much to his few minutes on screen that in
retrospect he seems to have been the leading man. This has the potential
to be either an Oscar-nominated performance (or, more likely, one of the
great supporting performances that Oscar forgot). We can only hope for a
whole film about Newton, who deserves one, and Finney would make a grand
headliner. In one emotional moment, he utters one of the simplest,
clearest, most moving Christian testimonies this moviegoer has ever
seen.
Just as memorable, Michael Gambon, so good at playing sinister, finds a
lot of comedy in his own work as the sullen Lord Charles Fox.
The spectacularly named Benedict Cumberpatch brings fresh personality to
the important role of the politically clever William Pitt. And all
praise to Apted for giving Rufus Sewell a chance to escape his
typecasting as a villain to play the abolitionist Thomas Clarkson. The
autobiographer Olaudah Equiano, a former slave, is played with heart and
vigor by Youssou N'Dour, the Senegalese singer best known for his joyous
vocal contribution to Peter Gabriel songs like "In Your Eyes."
On the down side, Ciarin Hinds is stuck playing a routine villain (just
as he did in The Nativity Story), and Toby Jones of
Infamous doesn't fare much better.
There won't be any great surprises along the way -- most folks know that
the abolition bill passed on March 25, 1807. And the movie wrings a few
scenes for emotion that never produce a drop. (When Wilberforce brings
aristocrats to the nightmare of a slave ship, their shame and weeping
come far too quickly, too automatically.)
The film's greatest flaw is its rush to keep us entertained. We're shown
that Wilberforce "found God" during quiet, meditative walks in the wild.
Well, audiences could stand to learn the value of some thoughtful quiet
too, and this film gives us precious little--it's in too big a hurry to
pack two hours with events.
But let us again praise Steven Knight, who is quite a versatile writer.
(He also wrote Dirty Pretty Things, another fantastic script in
which the oppressed and forgotten people are championed by a
conscientious hero.) Knight has enlivened what might have been dry and
workmanlike, peppering the courtroom scenes with personality and verve,
spicing the romance with wit, and spiking the punch of courtly langauge
with just enough pizzazz.
And Apted continues to distinguish himself as an impressively flexible
director. His true masterpiece is his documentary series (7 Up, 28
Up, 42 Up, etc.) chronicling the lifetimes of several Brits born in
the 1960s. The series is properly recognized by Roger Ebert as one of
cinema's most valuable treasures, and if you haven't seen it, you really
should take the time. And yet, in a strange way, Amazing Grace
is essential Apted, for it reflects the same compassionate heart, the
same desire to reveal hope in the midst of trouble, glory in the midst
of struggle.
While it can't quite reach the same spirited heights, Amazing Grace
often reminded me of Milos Forman's standard-setting period-piece
biopic Amadeus. We learn a great deal about Wilberforce's
interests and personality along the way, from his care for animals to
his extravagant generosity to the poor. And while it's fair to say that
too many films about the sufferings of Africans end up glorifying
privileged white guys, Wilberforce's contribution to history is long
overdue for a standing ovation. So that complaint should not prevent
anyone from seeing this film.
The film reminds us that Wilberforce was buried in Westminster Abbey,
and the closing moments take us there for a rousing bagpipe rendition of
Newton's great hymn. This choice is really unnecessary, after the film
has driven its points home with such zeal. But then again, it's true...
history doesn't often celebrate peaceful men, so perhaps that lack
should encourage us to take a little extra time remembering the great
William Wilberforce.
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