TIFF Review: Regina King’s “One Night in Miami”
BY SCOTTIE KNOLLIN
Already an accomplished television director, Oscar-winning actress, Regina King, has officially entered awards season as a major contender with her feature directorial debut, “One Night in Miami.”
Set on the night of February 25, 1964, the film explores the possible conversations had between notable real-life characters Cassius Clay, Malcolm X, Sam Cooke, and footballer Jim Brown. Based on the stage play of the same name, the film takes careful steps to find its footing, mostly thanks to King’s steady directing.
From the moment the film begins, there’s an electrifying energy that zips throughout each frame. Too often stage-to-screen adaptations can feel overwhelming and unpleasantly brooding. They can also feel overdone. What’s pleasant about “One Night in Miami” is that King never removes the quiet and intimate pace of the stage play, but enhances it with slowly-creeping camera movements and energetic scenescapes. She’s also assembled a remarkable cast:
Eli Goree as Cassius Clay is graceful and every bit the less-than-humble teddy bear of the prized fighter on the cusp of changing his name to Muhammad Ali. The film unfolds on the night of his famed world heavyweight boxing championship win against Sonny Liston. At only 22-years old, Clay is every bit a young star grappling with his sudden fame and lack of maturity.
Kingsley Ben-Adir, an English actor, channels Malcolm X. He has many of the film’s most potent and palpable scenes and he chews on them with the same veracity as Denzel Washington did in Spike Lee’s film nearly three decades ago.
Leslie Odom, who fans may recognize from Hamilton, offers the most comforting performance of the film as Sam Cooke. Each of the men are fighting a world that belittles them for the color of their skin while celebrating their achievements. Odom’s Cooke shines when he shares how he’s capitalized on America’s bigoted society.
Aldis Hodge, arguably the most recognizable cast member, doesn’t nearly get enough time to shine. As Jim Brown, the football star turned Hollywood actor, his scenes tiptoe very close to schmaltzy race film territory. But, that brevity is needed for both context and relatability.
Playwright Kemp Powers no doubt had fun imagining that neverending night. Each piece of dialogue is cleverly delicious, especially in the scenes lifted directly from the play. In fact, the only times the film seems to wander are in the moments that were clearly designed specifically for the film. King works her magic to make it all seamless, but there’s only so much she can do.
Beyond the flashy performances and the film’s beautiful aesthetic, the film’s message warrants every good or bad element that brings it from opening to closing credits. And, what better mouthpieces than four men who changed the world? “One Night in Miami” is a sliver of a history lesson wrapped up in pristine production design and sharp costumes. King deserves every bit of praise she’s getting for an inspiring debut and a film that shows fighting for justice looks different for every single person; what’s most important is that we all keep fighting.
