ReelBob: ‘Harriet’ ★★★
By Bob Bloom
“Harriet” focuses on a crucial few years in the life of this self-sacrificing, heroic, Civil War-era woman nicknamed “Moses,” who braved obstacles and dangers not only to free herself but to continually return to the South to deliver slaves from bondage.
The film is not a full-fledged biography of Harriet Tubman. Rather, it explores the motivations that drove her to continually risk her life, as well as details the strengths that propelled her — her faith and spirituality.
As a child, Harriet suffered a head injury. After she recovered, she began having spells, in which she saw future events. She interpreted these visions as messages from God. And it was her belief and certainty that she was doing the Lord’s work which drove her mission.
“Harriet,” directed by Kasi Lemmons from a script by Gregory Allen Howard and Lemmons, uses Tubman’s conviction as its foundation.
Tubman and her family were the property of a Maryland farmer before she fled the 100 miles to freedom in Pennsylvania.
There, she was given an education, and, a year later, decided to return to Maryland to free her husband and other family members.
“Harriet” is undercut by too many moments that approach melodramatic tropes and stereotypical characters rather than fleshed-out people.
The movie, however, is a vehicle for Cynthia Erivo, who brings a steely determination, resiliency and stubbornness to her portrayal. Erivo’s Harriet is confident that she is following God’s will, and she won’t allow anyone or anything to deter her from her goal of emancipating as many slaves as possible.
“Harriet” rests on Erivo’s shoulders, which offers short shrift for the rest of the cast members, who include Leslie Odom Jr. and Janelle Monae, who help run the Underground Railroad and Vondie Curtis-Hall as a black preacher with a hidden agenda.
Joe Allwyn, who plays Gideon, the slave owner who wants Harriet back, is a one-dimensional figure who plays his part as if he just stepped out of a production of “Mandingo.” The sexual tension when he is on screen is a trite throwback that is an unnecessary plot component.
Smartly, Erivo is able to use her vocal talents — she starred as Celie in the 2015 Broadway revival of “The Color Purple” — singing spirituals as signals to slaves that she was at hand and ready to lead them North.
The movie — no pun intended — is too black and white. Most of the characters lack complexity; they are either good or bad, and many situations are formulaic sequences derived from other films that touched on the issue of slavery.
“Harriet” is definitely worth seeing, especially because of Erivo’s bravura and impassioned performance. It’s a shame that the script fails to reach her heights.
I am a founding member of the Indiana Film Journalists Association. My reviews appear at ReelBob (reelbob.com) and Rottentomatoes (www.rottentomatoes.com). I also review Blu-rays and DVDs. I can be reached by email at bobbloomjc@gmail.com or on Twitter @ReelBobBloom. Links to my reviews can be found on Facebook, Twitter and LinkedIn.
HARRIET
3 stars out of 4
(PG-13), violence, language, including racial epithets, thematic elements