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doomonfilm · 3 years

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Thoughts : Fruitvale Station (2013)

Normally, I celebrate Black History Month on my social media page by posting different achievements, key moments and important figures from the African-American experience. There was something about 2020, however, that made me feel the need for change… mainly, it was the fact that Black Americans continued to be the victim of race-based violence at a disproportionate rate, even in the midst of a pandemic. Based on the continued instances of said violence, I felt the need to make a shift in terms of what I shared on my timeline, so I adopted the #SayTheirNames approach. In doing so, Oscar Grant was a clear cut name for the list, but that also made me realize that I’d never taken the time to sit down and watch Ryan Coogler’s debut film, Fruitvale Station.

On New Year’s Eve 2008, Oscar Grant (Michael B. Jordan) begins his day staving off an argument with his girlfriend Sophina (Melonie Diaz) and preparing his daughter Tatiana (Ariana Neal) for school. He calls his mother Wanda (Octavia Spencer) to wish her a happy birthday, and during a stop at the grocery store to pick up stuff for her party, he meets a young woman named Katie (Ahna O’Reilly) who is preparing for a party of her own. In need of money, Oscar attempts to sell some weed to his friend, but after a moment reflecting on his last stint in jail, he dumps the weed and chooses to change his life for the better. Oscar, Sophina and Tatiana attend Wanda’s birthday party, and afterwards, Oscar decides to celebrate New Year’s Eve night in San Francisco. Wanda convinces Oscar to take the BART, and during his ride, he is recognized by Katie from the grocery store. She calls out to him, which notifies another man on the BART of Oscar’s presence, and based on their prison history, a fight breaks out. The BART Police get involved at Fruitvale Station in Oakland, and while Oscar and a number of others are being detained, a scuffle breaks out between Oscar and two of the police : Officer Caruso (Kevin Durand) and Officer Ingram (Chad Michael Murray). The struggle escalates, leading to the shooting and eventual tragic death of Oscar Grant on New Year’s Day, 2009.

In the hands of a lesser director, the tragic tale of Oscar Grant would be milked for every bit of emotional and dramatic beat that can be amplified and exploited, but in the hands of Ryan Coogler (and in his debut no less), Coogler gives us a true slice of life presentation of the struggles that trip up even the most well-intentioned young men, and the underlying aspirations to eliminate them. The tragedy that beset Grant, as commonplace as it has become these days, is about as much of a twist ending as that of the film Titanic, so instead, we are shown Oscar Grant taking stock of his life with all the pomp and circumstance of an instruction manual. In my mind, it feels like Coogler and all involved decided to not only make Oscar Grant as relatable as possible, but also show how his last day on Earth had the same ups and downs of any other one.

The strongest aspect of this film is its immediate and deeply penetrating honesty. Before we are properly introduced to the actors portraying their very real counterparts (properly, meaning we hear them before we see them), our first visual stimulus is the actual footage of Oscar Grant’s last moments that lead to his death. Once the actual film starts, there are no airs put on in an attempt to make Oscar Grant an angel… instead, we are shown Oscar attempting to reconcile the broken trust in his relationship, stating his intention to sell weed in order to make money and even driving a car while operating a cellular phone. We are also shown his attempts to connect with and support his daughter, as well as a birthday text and phone call to his mother, therefore humanizing Oscar as we join him on his tragic journey.

Using a handheld camera grounds the film in reality, making it feel more like a documentary than a dramatic retelling. The film has a similar energy and pacing to Gus Van Sant’s Death Trilogy, particularly the film Elephant, in the way that we are shown every mundane element involved in the march toward tragedy, with the main difference being that this story is true. The film looks great in terms of the way it captures the Bay Area, but ultimately, this film was not made as a vehicle to impress viewers with its flashiness. This is a film with a righteous agenda, and it more than holds up its end of the bargain in terms of achieving its goals.

Michael B. Jordan has always had a knack for mixing underlying emotion and a very natural screen presence, which works well in this character study of a life cut short too soon. Melonie Diaz matches Jordan’s natural energy, but not at the expense of displaying her sense of urgency to have the needs of her and her child met. Ariana Neal gives a strong performance for such a young actress as she manages to be charming without being cheesy, and at times, incredibly pensive for such a young mind. Octavia Spencer does what she does best, bringing a loving presence and a motherly sternness to her character that validates Oscar’s choices to shift his life in the right direction. Ahna O’Reilly turns on the charm, making her the kind of beacon that a stranger would gravitate to in hopes of a connection. Key supporting performances by Kevin Durand, Chad Michael Murray, and appearances by Christina Elmore, Tamera Tomakili, Chris Reidell, Denzel Worthington, Jonez Cain, Jasmin Bristow and a host of others fill out the cast for this sad tale.

This film was every bit as moving and powerful as everyone said it was. The fact that I knew how sad an ending I was headed for did not deter my enjoyment of how well the film was made, or how impressed I was by how carefully and respectfully the story was handled. The circumstances surrounding the film are no doubt tragic, which makes this film an important piece of film and cultural history that I will do my best to share with any and everyone willing to listen.

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