Her half brother was ten, and his very name, Seven, is relevant to the story’s premise: he was named by Maverick in reference to point No.
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The movie, based on a novel by Angie Thomas, with a screenplay by Audrey Wells (who died earlier this month), opens with Starr’s recollection of “the talk” that her father, Maverick (Russell Hornsby), gave her and her two siblings-about how to behave if stopped by a police officer, in order not to give the officer any excuse to shoot them. The central character, Starr Carter (Amandla Stenberg), a sixteen-year-old high-school student, is also the movie’s central consciousness-her presence, her conflicts, and her voice (in the form of a retrospective voice-over) dominate the film from beginning to end. It’s the story of a black family living in the predominantly black Georgia neighborhood of Garden Heights and confronting, directly and personally, legally enforced and socially reinforced norms of racism-which is to say, they’re a perfectly ordinary black American family, working and living under circumstances that, as is clear from the start, would be inconceivable for a white family to face. It does so with a sense of balance, of heads-up alertness that suggests a dramatic type of peripheral vision-the director, George Tillman, Jr., seems to know, and to convey that when the camera is on one character or several others are present and potent, whether just out of frame or somewhere out of view but clearly exerting an unseen influence.
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It’s an explicitly political movie that advocates a manifestly progressive view of its subjects, but it does so with a varied emotional energy, a set of complex characters in uncertain situations, and a perspective that emphasizes the drama’s open-ended, trouble-filled engagement with society at large. “The Hate U Give,” which is in wide release this Friday, does not fall into this trap. What’s certain is that a narrow view of advocacy and a narrowed emotional range go hand in hand, and that filmmakers, in the grip of their own persuasion, often miss that connection. Far from advancing and reinforcing the desired view, such numbing movies suggest that the view exacts a price in vitality viewers will decide for themselves whether the trade-off is worth it. In skewing their drama and characters in order to stoke viewers’ responses in favor of one particular outcome, some political movies dull the emotional experience of watching. Sometimes such movies offer little more than fan service, of a sort that hardly differs from canonical interpretations of superhero stories designed to please hardcore followers.
There’s no special merit to films that address subjects of urgent political concern, nor to ones that advocate progressive views.
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