At the dawning of 2021, one of the first big new releases harkens back to a movie trope that goes back nearly eighty years, the “team-up picture”. Probably 1943 really, when Universal Studios had the idea to pair two of its big “monster” properties in FRANKENSTEIN MEETS THE WOLFMAN, which proved so successful that they added Dracula for their HOUSE OF flicks before sending them out to pasture after encountering comedians Abbott & Costello. The idea would resurface in the 60s as the Japanese giant “beasties” tangled in several films (even our King Kong dropped in for one). In between those series other genres gave it a try with Westerns (Billy the Kid, the James Brothers, the Daltons, etc.) and crime sagas (Al Capone, Dutch Schultz, John Dillinger, etc.), low-cost since they’re historical figures. Most recently the franchises of Marvel and DC have converged for THE AVENGERS (four so far) and JUSTICE LEAGUE. So, why not another “real-life re-uniting”? How about a fictional “get together” of four African American icons? Plus it’s helmed by a star who may become just as famous one day (she’s already earned an Oscar). This momentous “made-up” meeting occurs several decades ago on ONE NIGHT IN MIAMI.
Before that evening, the film introduces us to a difficult incident in each man’s recent past. In 1963 heavyweight boxing sensation Cassius Clay, soon to be better known as Muhammad Ali (Eli Goree) is knocked down by Henry Cooper in their bout at Wembley Stadium (Ali barely recovered). At New York’s Copacabana nightclub, popular new singing star Sam Cooke (Leslie Odom Jr.) struggles to entertain an indifferent (and mostly white elderly) audience. Down in Georgia, hometown hero Jim Brown (Aldis Hodge), celebrated fullback for the NFL’s Cleveland Browns, still faces intolerance on a return trip to his roots. Over the airwaves, a CBS News special hosted by Mike Wallace warns of the violent rhetoric of Malcolm X (Kingsley Ben-Adir), all while he ponders a split with Elijah Muhammad and the Nation of Islam. The story’s setting shifts to Miami, February 25, 1964, as Ali prepares for his world heavyweight fight with current champ Sonny Liston by praying with Malcolm at his sparse room at the Hampton House Hotel. Ali is converting to Islam but has not publicly announced it. Malcolm urges him to do so knowing this will bring followers to his new religious splinter group. Across town, Sam Cooke lounges at the swank Fontainebleau Hotel with his wife as she leaves town solo before the big event. That night, Jim Brown is one of the television “color commentators” at a table at the ring’s edge. After his victory, Ali joins Brown and Cooke at Malcolm’s hotel room and while away the night laughing, arguing, recalling past triumphs and tragedies, and looking ahead to a brighter future.
A gifted quartet of talented current actors succeeds in bringing these historical figures back to vibrant life (thankfully Brown is still with us). As the organizer of the “night”, Ben-Adir channels the passion and focused intelligence of Malcolm X. He’s clear in his purpose as he guides Ali in his quest for spiritual enlightenment serving as a patient mentor while delivering a big dose of “tough love” to Cooke. But Ben-Adir also shows us that look of weary paranoia (though it turns out forces were plotting against him), as he can rarely “let his guard down” away from these few true friends. Building on his sensational Tony-winning work as Burr in HAMILTON (which we all can see finally on Disney+), Odom Jr. is mesmerizing as the smiling “velvety-smooth” crooner Cooke. We see his desire to emulate pop entertainers like Bing and Deano, though he seems to be bouncing off a bigoted “brick wall” in his crossover efforts from records to nightclubs. Odom Jr. flashes a quick easy smile for all until his simmering frustrations boil to the surface as Malcolm prods him to sing songs that matter (oh, his look while listening to Dylan’s 60s anthem). Of the many flashbacks, Odom Jr. shines the brightest as Cooke when he quickly improvises an acapella rendition of “Chain Gang”. After conquering Broadway he’s now a most compelling screen star. Speaking of relative big screen “newcomers”, TV series vet (“Riverdale”) Goree balances the intimidating physical stance of Ali with his playful, clowning acts of self-promotion as an endearing “blowhard” who completely backed up his “boasts”. Perhaps it’s that nasty left from Cooper that rattles him enough to change his personal direction. This is when Goree delivers the quiet introspective “champ” as he faces his trepidations over jeopardizing his public persona to take a stand with his new-found faith. The other sports star, Brown, is another formidable modern-day gladiator courtesy of the quiet charisma of Hodge who gives him the proper senses of swagger but with a look of stoic contemplation. He’s been “in the game” long enough to question those about him. Hodge appears to be “sizing up” everyone to weigh his reply (his instincts fail him in the opening flashback). Hodge also gives us a peek at the “gridiron aggressor” when Malcolm decides to “push his buttons” (after the Cooke record scene) over his desire to be a movie star (the fire in his eyes when his role in RIO CONCHOS is dismissed by Malcolm as the “sacrificial Negro”). Outside the Hampton, there are some excellent supporting performances. Michael Imperioli and Lawrence Gilliard Jr. are great as Ali’s “corner-men” Angelo Dundee and “Bundini” Brown. As Malcolm’s wife Betty Joaquina Kalukango is a forceful, but tender partner to him, while Lance Reddick is a tough solemn sentry as his main “security” force Kareem X. And screen vet Beau Bridge delivers a fabulous comic cameo as Brown’s old “family friend” from “way back”.
And who is the Oscar-winner behind the camera? Fresh off the raves (and an Emmy win) for HBO’s “Watchmen”, Regina King makes her narrative feature filmmaking debut. Aside from guiding the cast to some superb performances, Ms. King shows a real visual flair as she glides the camera through the cramped hotel room, while also capturing the distant atmosphere of each flashback setting, from the boxing rings to the smoky supper clubs to the “safe space” of Malcolm’s modest neighborhood home. She uses these “solo sequences” to keep the pace brisk, never allowing “that night” to get too “talky” or “heavy-handed” with its still resonate message. Kudos must also go to Kemp Powers (one of the talents behind the current animated feature SOUL) who adapts his lauded stage play and “opens it up” for film by delving deep into the backstories of this quartet of bonded brothers. Accentuating the dramatic flow is the subtle score by Terence Blanchard. But a great deal of the story’s power derives from the expert recreation of the era, from hairstyles and fashion to interior furnishings, all assembled by a team of exceptional artists and craftspeople. They all work to make this historical “what if” fable as fresh as any current news website or blog. ONE NIGHT IN MIAMI is one powerful and compelling movie experience that will hopefully prompt lots of “searches” into the lives of these monumental men.
3 Out of 4
ONE NIGHT IN MIAMI opens in theatres everywhere beginning Friday, January 8, 2021. It is also streaming exclusively on Amazon Prime
