The first feature filmy by Ryan Coogler, Fruitvale Station
captures a day in the life of Oscar Grant (played by Michael B Jordan) and his
girlfriend/baby-moms Sophina (Melonie Diaz). It’s no secret why what we are
watching is significant: even if you were to enter the theater cold, Coogler
shows us one of the infamous cell phone videos taken on New Years 2009 first,
before the narrative proper. This device perhaps eliminates the power the reminder
of the film has (while giving it a hook).
The film to its credit is very good, almost so it doesn’t
need a hook – perhaps without foreshadowing its ending (although inspired by a
true story – strangely though it doesn’t name Grant’s killer – uh-
manslaughter-er – Johannes
Mehserle). Perhaps it does fudge the facts – as debunked in this Forbes magazine op ed: but its still a compelling film building sympathy for Grant
who is at the very least a flawed character (is he turning his life around as
the film suggests, perhaps, or more so perhaps he has the ability to be redeemed).
Films above all simplify: this is the function of filmmaking
– if you were to follow all the actions one undertakes it would be very boring
(if you don’t believe me then watch Hoop Dreams – I still have no idea why this
is widely considered a great film, it’s one to watch when Ambien just isn’t
enough to put you to sleep).
Fruitvale Station follows Grant, 22, as he struggles to get
his life in order: he’s made up with his mom – played by an always stellar Octavia
Spencer, who almost vowed to disown him while he was in prison (told in
flashback). Grant also tires to get back his job, tires to save a dog from
dying (debunked in Forbes) and leads a New Years Eve countdown on the BART when
the train is delayed reaching its destination. Oh fiction!
I’m not sure if (although I suspect it would) be more
effective if the film was a true day in the life, in the Italian neo-realism
style: instead the film takes the form of British social realism (although its
far too scripted for Mike Leigh and Ken Loach). There is a certain amount of
power and Coogler; a relatively young voice evokes some of cinema’s masters. As
a first film, Fruitvale Station is a promise of great things to come – its observant,
if not at times little flawed (although no more so than say Zero Dark Thirty
which was filled with too many coincidences that took me out of the story). The
performances are engaging and above all Fruitvale Station engages in a conversation
about race and more importantly police work that ought to occur: should the
cops be given a pass for anything and everything? 
What happened in Fruitvale Station is no doubt a tragedy and
Mehserle has not won an appeal (he only served 9-months of a two year
sentence). I agree the story does drum up sympathy for Grant (although the film
plays fair, it appears he was resisting the arrest). It’s a complicated subject
to tackle: it pours the emotions on thick, and that is apt given the story is
based on a true story and Oscar Grant really was killed – and really did have a
family that loved him in spite of his flaws. Coogler’s camera is restrained
while the film remains cinematic above all: Fruitvale Station if anything
engages us in a conversation that few films is willing to do so. The wrapper it
comes in isn’t quite perfect – but then again neither is most entertainment
films – it is worth seeing as a bold, new cinematic work.
Screening: Dipson Amherst, Regal Transit, Regal Quaker, Regal Elmwood, Regal Hollywood 12, Regal Walden
