She didn't wear spandex tights or bullet-repelling bracelets. But Harriet Tubman was a real-life superhero in every sense, fighting for justice and winning major victories against impossible odds in her lifelong battle to end slavery in the American South.
An escaped slave herself, she made many perilous trips back below the Mason-Dixon Line to lead other enslaved people to freedom in the North, via the Underground Railroad, armed with little more than raw courage, relentless determination, and the occasional flintlock pistol.
Although her name has become a footnote in American History books, it seems incredible that such an inspirational story has never been made into a movie — until now. In Harriet, filmmaker Kasi Lemmons (Eve's Bayou; Talk To Me) examines the woman behind the footnote, exploring the outrage, grit, and fervor that shaped her, in a tribute that feels long overdue.
Maybe now that we're all so woke, the times have finally caught up to the amazing life of Harriet Tubman.
Erivo as Harriet: Perilous crossing |
The story, co-written by Lemmons and Gregory Allen Howard, begins in 1849 with the slave woman, Minty (Cynthia Erivo), who lives with her parents and siblings on the Ross family farm in Maryland.
After their master tears up their legal petition to free the family in honor of his late mother's will, Minty prays for his death, overheard by the master's odious son, Gideon (Joe Alwyn). When he plans to sell her off, she runs away; pursued by men and dogs and nearly drowned, she makes it all the way to Philadelphia.
There, she's taken in by William Still (Leslie Odom Jr.), a dapper abolitionist, and Marie (Janelle Monáe), who runs a refuge for single women and finds her paid employment working in a hotel. Marie teaches Minty to shoot a pistol. William encourages her to give up her slave name; she chooses her mother's given name with the surname of the husband she's had to leave behind — Harriet Tubman.
Erivo and Odom: Conductors |
Ervio as Tubman: Reel life |
The real-life Tubman was prone to seizures, which she claimed were visions from God guiding her on her journeys, and which Lemmons recreates in sepia glimpses.
These, along with the fact that she never loses one of her "passengers"— despite fierce pursuit — adds to her mythos among slaves, abolitionists, and slaveowners.
Harriet Tubman; Real life |
Evocative music also plays a key role. Spirituals underline the slaves' fervent faith in a better life ahead, but when sung by slaves in the field, they also allow them to communicate with each other in a kind of code, under the overseer's notice. Many are delivered with wistful, calibrated emotion by Erivo, a Tony-winning musical theater actress.
Erivo also sings the powerful anthem, "Stand Up," over the closing credits, a song she wrote with Joshuah Campbell that sends the viewer off on a stirring note.
And a brief glimpse of foot-stompin' revival music in the slaves' little church on the farm is delivered by a boisterous Vondie Curtis-Hall as the preacher. If my grandfather, the Methodist minister, had held services like that, maybe I would have become a churchgoer.
Lemmons' melodramatic flourishes can be overdone. Gideon is written as dastardly, insinuating evil incarnate, without any shading, and the orchestral soundtrack tends to swell and crest to emphasize emotion. But Harriet's story is so important, it rises in triumph over all obstacles — like the woman herself.
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