- MOVIE WHITE GUY DRUM LINEIN BLACK SCHOOL BAND 1990 HOW TO
- MOVIE WHITE GUY DRUM LINEIN BLACK SCHOOL BAND 1990 MOVIE
MOVIE WHITE GUY DRUM LINEIN BLACK SCHOOL BAND 1990 MOVIE
As engrossing as this can all be though, it's oft hard to swallow some of what the movie tries so hard to press upon you it's a film that tries to raise questions whilst simultaneously answering without being too cynical, and for the most part, does that well enough, even if it is all a little too dependant on sucrose for its own good. The movie's central performances from Rob Brown and Dennis Quaid are nothing of any remarkable significance, but they serve their purposes well and do justice to the characters that they are playing sure enough Quaid can be his withdrawn, wooden self from time to time, but his presence is a fine mixture of warm and cold, enough to make the relationship between the two main characters compelling to watch develop.
Thankfully though, all is not lost in either of their abilities Isham does far better when scoring for the movie's faster moving segments and Fleder gets some hard hitting and poignant performances out of his main cast. From the sweeping strings of Isham's sentimentally ridden compositions to Fleder's insistence on emphasising start contrasts between the stories dark and light moments, The Express sometimes boils down to mere caricature that belittles the ideas that the script is trying to get across. Director Gary Fleder and composer Mark Isham too often inject the feature with an overbearing, sometimes sickening level of sugar coated melodrama. Despite the script's well intentioned spirit however, all does not go well when it is finally given transition to the big screen. Counterbalancing the much more visceral aspects of the feature with this emotive, heart felt drama the movie achieves both a sense of wonder and relevancy that still rings true to this day. At its heart, The Express is a moral tale of people coming together and letting parts of themselves go that maybe they hadn't thought through quite thoroughly enough at its core, The Express is about racial discrimination.
Instead the script leaves much of Davis' conflict and hardship to be faced off the pitch, even when he's playing on it. Sure enough the man is more or less untouchable in the movie's first two thirds, but showing his weaknesses on field would be superfluous at best. Watching Ernie is like watching a legend, and that's exactly what it should be like. On this purely face value level, the movie does well it has the building structure and bubbling tension needed to create the necessary highs and lows of a typical, engrossing sports movie. Ostensibly the feature is about Ernie's battle to the top of the game back in its earliest days when to be black was looked upon as something of a weakness or automatic disqualification from being taken seriously.
Told through the eyes of up and coming black American football sensation Ernie Davis, The Express delivers a two punch game that fights on two fields which turn out to be one in the same.
Nevertheless, with some fitting performances, stark photography and an endlessly inspiring story of unity, social injustice and change, The Express still manages to overcome its weaker moments to make a greater whole. The Express for all intents and purposes retains the important elements of Davis' short but inspiring tale, backing up the movie's hard hitting themes with solid heart, soul and passion yet lumbered with a force-fed implementation that sacrifices the stories emotional integrity for mawkish melodrama, the feature too often looses its footing when it really counts. Yet this sometimes off balanced narrative unwittingly carries through onto this, the big screen adaptation of young Ernie Davis' story, and the movie as a result is worse off, no matter how faithful it may adhere to the source material which borrows largely from the main character's real life biography.
MOVIE WHITE GUY DRUM LINEIN BLACK SCHOOL BAND 1990 HOW TO
Sending off the film in a monologue which encapsulates his entire story, lead character Ernie Davis (Rob Brown) concedes to the fact that he doesn't quite know how to end his story it's a desirable lack of focus for a man who doesn't necessarily want to tell a structurally sound story, but a powerful and important message about his struggle instead.
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