Director Kathryn Bigelow (The Hurt Locker) is definitely no stranger to tackling controversial topics in her films. In her latest blockbuster Detroit, the Oscar-winner takes on the 1967 riots in the famous Michigan city, fuelled by racial tensions between the oppressive, racist, white police force and the African-American people who are so unnecessarily victimised by those who are supposed to protect them. What follows is a thrilling, heart-stopping true story that will leave the viewer understandably shaken and pensive.
Dutifully shining the light on a shameful piece of history
When the final credits of Detroit roll, Bigelow ensures the audience that what they have witnessed may not be 100% accurate, however the bitter taste in the viewer’s mouth remains frustratingly prevalent. Such is the state of America currently, in which African-Americans are still so frequently being murdered unlawfully by white police, that a film tackling something that happened 50 years ago is still utterly relevant and reflective of the world we still live in. The way in which Bigelow crafted the suspenseful police raid on the Algiers Motel was masterful, and it made it impossible to take your eyes away from the screen for a single moment.
The clear message that Bigelow is sending to the audience is that despite the film’s accuracy being murky, that the white police officers involved in the raid on the motel were inherently racist, evil individuals; who despite knowing of the innocence of the young, black males they’re battering, killing and grilling for information, view them as absolute scum. It is another element of the film that still speaks volumes of the horrific, prejudiced world we unfortunately have to live in. Technically speaking the film excels, with the jumpy editing being a notable reason for how the suspense boils to its hard-hitting climax, as well as the sound, with each painful blow landed by the police onto the innocent victims producing a stomach-churning crack which resonated throughout the audience. Combined with the topical, Motown soundtrack that laces itself perfectly into the Detroit backdrop, blaring ever present amongst the fire and destruction the film portrays so brilliantly brutally.
A defining ensemble cast at their brilliant best
The talent Bigelow recruited to bring this story to life couldn’t have been more on the nose if she tried, such is a testament to the talents of Will Poulter, John Boyega, Anthony Mackie, Algee Smith, Hannah Murray and Jack Reynor; amongst a fistful of others. The standout performance had to come from Will Poulter (The Revenant), who despite being a very nice person when I met him, produced a tour-de-force in playing one of the biggest b*stards seen in recent memory on the big screen as the leader of the racist police raiding the motel, Krauss. He so convincingly portrayed someone so inherently awful, and made his character so easy to hate, which speaks volumes about the sheer talent and versatility he possesses.
Boyega also shines through as Dismukes, a security guard caught up in the riots, who despite having to side with the police he knows are prejudiced, attempts to be a diffuser of the situation at the motel and to protect the young black males he can see being treated so viciously. It’s a brave and smart portrayal of someone who was in the wrong place and the wrong time, and despite being sided with the film’s antagonists, provides a stark, heroic contrast to them. The other notable performance that perhaps resonated hardest with the audience was Algee Smith’s turn as Motown singer Larry, who’s only dream to sing on stage is ruined by the riots which then sweeps him into the motel and the horrors that followed. Smith brings the most emotive performance of the movie, and is a catalyst in portraying the detrimental effects the riots and particularly the events in the motel had on the survivors of this great injustice in American history.
The Verdict
To put it simply, do not expect to feel anything but bitterness after watching Detroit, such is the achievement of Bigelow and the cast. This is a film that truly should be talked about for years, but for the totally wrong reasons. We shouldn’t have to watch a film like this to portray what’s wrong with our prejudiced world, but unfortunately 50 years on from these terrible events, we have exactly the same problems with racist police all over the world. It is a sad and terrible world we still live in, but absolute plaudits to Bigelow for bringing such a truly disgraceful injustice to light, my only problem with the film being that it couldn’t prove to be 100% accurate and the offenders back then and today still roam free. It is a hard hitting, well-made take on a controversial issue that features one of the best ensemble performances of the last few years and will remain a relevant piece of work for years to come.
Rating: 9/10
Words by Elliott Jones