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Jewison is woefully heavy-handed in his treatment of the fictionalised, absurdly villainous detective (Dan Hedaya) who zealously plots to keep Carter in jail, and anyone familiar with Carter's story may object to the film's simplified account. But what matters here is the shining star of hope that is Lesra (Vicellous Reon Shannon), the Brooklyn teenager who rejuvenates Carter's legal battle in the early 1980s. This surrogate father-son relationship is what revives Carter's hope for family and future, and makes The Hurricane so engrossing and emotionally effective. Lesra's real-life Canadian mentors are compressed from nine characters to three, but their efforts are superbly dramatised, and Jewison hits the small but important grace notes that make a good film even better. By its final scenes, The Hurricane conveys the rich, rewarding satisfaction of surviving a difficult but valuable journey of mind, body, and soul.--Jeff Shannon, Amazon.com
You could call what happened to Rubin Carter a travesty of justice, yet even this term barely begins to explain Carter's plight. He was tried and convicted of the murder of three individuals in a New Jersey bar in 1967 for two reasons: he was black and he was successful. He and a fan were heading home in a white car when they were pulled over, hauled over to a murder scene they knew nothing about and then to the hospital to see if anyone could identify them as the murderers - which no one did. This did not stop the lead detective from arresting and trying them for murder - by suppressing evidence and forging documents, not to mention engineering the false testimony of quite impeachable witnesses, the police and prosecutors got their conviction. Rubin Carter's boxing career was over, and this man - who could have been the middle-weight champion of the world - found himself looking at three life sentences for a crime he did not commit.
... Read more ›Washington should have one an Oscar for this- though the same can be said for his performances in 'Cry Freedom' & 'Malcolm X'. As with 'Ali', it does tend to paint the zeitgeist in obvious 'Forrest Gump'-by numbers: soul-songs, footage of civil rights demos, the pictures of Rosa Parks? This feels a little clumsy and forced- and gets away from the fact that our hero was away from all of this (the somewhat messy structure doesn't help either- if you're going to cut back & forth time- there must be good reason!).
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