The story of Bobby Seale could have almost been its own movie (and probably will be one day), especially since he was the only defendant not represented by attorney William Kunstler (the staggeringly great Mark Rylance). Even so, Seale was not allowed to speak in his own defense, so he was forced to simply sit there and be advised informally by fellow Black Panther Fred Hampton (Kelvin Harrison Jr.), who was killed in a targeted raid on his home during the trial. Seale’s barely contained rage at even being on trial with these seven other men—rounding out the bunch was Rennie David (Alex Sharp), Lee Weiner (Noah Robbins) and John Froines (Danny Flaherty)—with whom he had no affiliation or attachment. The image of him chained and gagged because he refused to submit to this discriminatory behavior has haunted me since I first heard about it, but to see it here is nothing short of chilling.
There’s no reason to spoil any of the twisty nuances of the trial, but it surprised me how funny the film is at times, mostly in scenes set in the evening, when the defendants are in their collective office working on their case. Cohen and Strong are practically a comedy team both in and out of the courtroom, and the verbal showdowns between Langella and Rylance (with five Tony Awards between them) are exquisite. Kunstler’s befuddlement at watching Judge Hoffman simply ignore, dismantle and disgrace procedure and common sense at every turn is some of the best material in the movie. I’m not sure I bought Sorkin’s assertion that Schultz was silently appalled by the judge’s behavior, especially since it usually benefitted his case, but Gordon-Levitt needed something to do beside play a stone-faced lawyer. In a film that features almost no female roles of any substance, I liked the inclusion of an undercover FBI agent played by Caitlin FitzGerald, who infiltrates Hoffman and Rubin’s group by flirting with Rubin, breaking his heart in the process when she testifies against him.
The film is executed almost like a stage play, with most of the actors occupying just a couple of key locations and a few flourishes of the outside world when we see various flashbacks to the riots and what led up to them—I think that’s what Sorkin excels at in terms of his writing. As a Chicagoan, viewing the re-created clashes between protestors and law enforcement is tough, having seen the real thing in older films like Haskell Wexler’s Medium Cool and on the news more recently. Sorkin’s handling of those moments is fine and though they feel small and slightly underplayed, they still pack a punch in terms of the messages being conveyed.
Clearly, the courtroom stuff is the meat of the film, and he manages to make events from more than 50 years ago seem pertinent and timely, as well as electric and tense (even though most of us know how things turned out). It’s a crackling production that captures an embarrassing moment in history that was also loaded with examples of how justice can be corrupted in both big and incremental ways. The performances are dynamic and on point across the board, but I’m guessing everyone will have their favorites (Cohen and Rylance positively channel their characters). In the end, that triumphs over any issues with storytelling or grandstanding on the writer’s part. This is a terrific, energizing production.
The film is now playing at the Landmark Century Centre Cinema; it will be available on Netflix beginning October 16. Please follow venue, state and CDC health and safety guidelines if attending indoor screenings.
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