Whether or not Ava Duvernary‘s Selma was snubbed by the Academy shouldn’t matter. Upon its release in late 2014 and early 2015, we were still dealing with the repercussions of the events in Ferguson, M.O. Now with its release to DVD and Blu-ray on May 5, we’re yet again dealing with racially tense situations grabbing headlines in Baltimore, M.D. Looking back at the events displayed in Selma it’s clear that as much as it’s a historical piece, it’s as much, if not more, a film of our time and the special features make it all the more prescient.
There is some the filmmaker’s own perspective of the events.
DuVernay’s film is a meticulously crafted recount of the historical march in Selma, Ala. led by Martin Luther King Jr. (David Oyelowo), but is also an insightful character study of a man the American school system makes out to be no less than a saint. She points out in her commentary with Oyelowo (one of the two commentaries on the disc) that there hasn’t been a film in the last 50 years with King as the central character and it is probably for this reason no one dared touch his grace. But DuVernay welcomes showing King’s humanity. Whether it is his insecurity over what his friends will think of his suit or taking out the trash at home, it’s clear he’s a man above all else, and it’s these details along with Oyelowo’s performance that make the picture wholly humanizing.
[amz asin=”B00S1MYWBW” size=”small”]In his commentary, Oyelowo reveals some very interesting information about the pre-production of the picture. It seems most projects tossed around Hollywood are attached to the director and then attract actors, but Selma was on the converse. Oyelowo was first introduced to the part seven years prior to the film’s production. After filming DuVernay’s Middle of Nowhere he brought her on board to direct, recognizing her strength in directing black ensembles and overall film prowess. Listening to both of her commentary tracks (the other being with director of photography Bradford Young and editor Spencer Averick) she has a great ability to match her index of film and creativity. One particularly striking comment is how she found it difficult to film the white cast members and, for audiences, it’s unlikely most would even recognize a different approach to filming is necessary in each instance.
DuVernay points out how if you look at any film with a black character, you will rarely see them cast in the shadow of night. She notes, directors are often too scared you won’t see them, but this is something she’s never shied from. She isn’t worried you’ll lose Oyelowo (or the rest of the ensemble) in the dark; night time is a natural occurring moment and contrary to what most films display, the lights aren’t always on. Not only does this feel realistic thanks to Young’s fantastic cinematography (though the black levels are not perfectly transferred on this disc), but also provides some narrative depth as well, contrasting how the black presence was cast in the darkness as they fought for their right to vote. But aside from a few other instances, the disc’s commentaries are more glorifying than revealing (even the extras get high praise from them at one point — this is not hyperbole).
Most of the discussion between DuVernay and her counterparts are praising of cast and crew opposed to insight into production methods and facts — those are few and far between but worth the listen. I was especially disappointed the bridge sequence was left relatively undiscussed, but their praise for one another isn’t without due cause, particularly their praise for the cast. A majority of the cast are relative unknowns but they all bring some heft to the screen particularly praising André Holland as a young trailblazer for black voting rights and Carmen Ejogo as King’s wife. But no one attracted as much attention as Giovanni Ribisi who was highlighted in all of his scenes as the advisor to Lyndon B. Johnson (Tom Wilkinson) and deservedly so as he is a grossly underrated actor.
But along with the commentaries, there are more overviews of the film’s production with a 26-minute detail of the film’s design with “Recreating Selma” as well as a 13-minute look at the pre-production in “The Road to Selma“. There are also 20 minutes of extended and deleted scenes (“Strategy Session” being the highlight, showing off more of the ensemble.) And as it’s been announced that every high school will be receiving a copy of the film, there is no shortage historical and educational info including a look into the National Voting Rights Museum and Institute along with a discussion guide.
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