We have one Denzel Washington teardrop. We have a runny nose in Viola Davis. And now, we have Danielle Didweiler’s lip quiver, expertly executed in Shinone Choco’s deeply touching drama “Up.” Another Best Actress appeared though I wish the movie would live up to Deadwyler’s performance.
The powerful drama follows Mamie Till (Deadwyler), the mother of Emmett Till, whose kidnapping and murder in 1955 sparked global outrage and served as an important catalyst in the civil rights movement. Even charts Mami’s grief and her quest for justice. But getting people to watch a movie about such a horrific event would be a tough sell, even if the movie avoided depicting much of the brutality of Emmett Till’s murder.
In the weeks before it debuted at the New York Film Festival where it had its world premiere on Saturday, I told dozens of people — colleagues, friends, and Oscar voters — to watch Even. But when I tell them what it’s about, most admit that they don’t want to see a movie on such a grim subject — even after I assure them that the murders largely happen off-screen.
And this is the state we find ourselves in at this time where a very talented filmmaker like Chukwu, known as Clemency 2019, is given the opportunity to bring this important story to life. It doesn’t do that with the potential for box office rewards. She does it because we owe it to Mami, a woman who fought tirelessly for justice, who faced her son’s killers and who had to hear her child mutilate death by the same people who stole his life. Her journey, from grieving mother to reluctant civil rights fighter, is expertly plotted in a screenplay that Choco co-wrote with Michael Riley and Keith Beauchamp.
Even, from left: Danielle Didweiler as Mamie Till Mobley, Whoopi Goldberg as Alma Kartan, 2020. ph: Lynsey Weatherspoon / © United Artists Releasing / courtesy Everett Collection
© United Artists / Courtesy Everett Collection
Chukwu’s direction is another highlight in a year of compelling work from black female directors. We’ve already seen “The King’s Woman” by Gina Prince-Bythewood and “Nanny” Nichiato Gosu, with Cassie Lemons’ song “I Want to Dance with Someone.”
“Till” will also remind audiences that long before she co-hosted “The View,” Whoopi Goldberg was a great actress. Goldberg, a former Academy Award winner for “Ghost” (1990) and nominee for “The Color Purple” (1986), produced the film and has two notable scenes in “Till” as Emmett’s grandmother. Each of them shows the kind of precision and deliberate technique that only masters like Goldberg can achieve. Goldberg may not have enough screen time to garner a nomination, but she’s a worthy addition to the supporting actress race.
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The film’s male cast takes a back seat to Deadwyler, although they still look impressive. Jalyn Hall embodies Emmett’s teenage spirit and youthful curiosity while veteran actor Frankie Faison showcases his idyllic stature and an underappreciated presence for decades. Sean Patrick Thomas, after what seemed decades after “Save the Last Dance,” is back with his role as Mamie’s friend and stepfather to Emmett. It deserves more parts like this. Also, the man never gets old.
Technical categories could get some attention. Bobby Bukowski’s polished cinematography can be nominated, as well as the film’s costumes and production design, which expertly brings Chicago and the separated South of the 1950s to life.
So, is it “even” an Academy Award nominee? Many will come to see if he can be seen or not. To that end, the marketing and awards team will have to beg industry constituents to watch the movie throughout the season, and there’s a good chance some of them might not give it a fair shake. That would be tragic because this story and this movie deserve your attention.
Oscars 2023 predictions
best picture | Director | Actor | Actress | assistant actor | assistant actress | original screen | modified screen
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