Film fans look to DVD for one thing mostly, and that’s contextual clarity. We want to understand the artistic decisions made, to get close to the production and feel the organic flow of filmmaker and star, script and screen time, each element adding its own particular aroma and spice to the overall cinematic stew. More times than not, the medium leaves us wanting. The powers that be spruce up a failing film with lots of EPK bells and whistles, but end up giving us any real making-of means. Then there are the instances where a multidisc special limited edition box set experience goes overboard, providing insight wrapped in more minutia than any brain can handle. The perfect DVD experience is one that explains itself while also letting the film do an equally fine job complementing the conversation.
For example, The Great Debaters has issues, as both a movie and as an example of the home theater format. On the product side, this two disc collector’s edition from Genius Products and the Weinstein Company uses historical perspective and cast/crew interviews to highlight the already present subtext involving race, region, and the reality of the times (the 1930s). Missing, of course, is a commentary from star/director Denzel Washington discussing any aesthetic or pragmatic decisions. Equally absent is a justification for all the fact fudging that goes on in the narrative. Wiley College and its students did defeat a prestigious school in 1935 as part of a speech competition. It was not Harvard, however, but the University of Southern California. And to this day, there are issues with the event itself, since it may not have been “officially” sanctioned by any national debate organization.
The story offered is satisfying, if occasionally stilted. Young James Farmer Jr. (a revelatory turn by young Denzel Whitaker) is desperate to be on Wiley’s debate team. At 14, he’s a protégé, attending school where his father (Forrest Whitaker, no real life relation) is President. Into his life comes three compelling figures. One is teacher Mel Tolson (an oddly disheveled Washington), the inspirational head of the forensics squad. In his spare time, the Professor champions the rights of sharecroppers and supports Communism. The others are fellow students Henry Lowe (Nate Parker) and the sultry Samantha (Jurnee Smollett).
He’s a womanizing drunkard, spending far too much time at out of the way juke joints. She’s a big city gal with even bigger personal dreams. Together, they form the basis of a team that succeeds beyond everyone’s wildest dreams. Of course, there is trouble and intolerance all around. Yet even in the dangerous Jim Crowe South, they manage to make a name for themselves – so much so that Harvard comes calling, issuing a challenge: be the first ever black university to take on the prestigious Boston college. It’s an opportunity too good to pass up – even if events conspire to make the journey more difficult than it should be.
Yet Washington’s turn both before and behind the camera is awfully shallow. He takes a story that should soar and reconfigures it as a stodgy, over-simplistic pile of preaching. It could also be the star’s limited experience behind the lens. After all, he’s only directed one other film – 2002’s Antwone Fisher – and the lack of expertise means he’s more journeyman than genius. There is very little visual or artistic flair here as he barely skims the surface of the subjects being explored. Of course, it’s not all his fault. Screenwriter Robert Eisele substitutes grandstanding for guts, going for the cheap shot vs. the choice moment. The result is a message movie that unnecessarily stacks the deck in favor of feelings that no one would ever challenge.
Right away, the gratuitous manipulation is noticeable. Wiley did not debate the 317 year old institution back in the ‘30s, and the team’s triumph over USC was undermined by charges that the competition fell outside the parameters of the proper governing bodies. Both facts find no purchase in this overly earnest exercise. While the DVD gives producers a chance to argue that the modifications keep the ‘spirit’ of the story intact, the truth is that it only makes things maudlin and melodramatic. Since we’ll instantly care about these kids no matter what (bigotry has that kind of sway over an audience) there is no need to make the triumph any bigger, the stakes any higher. Yet that’s exactly what The Great Debaters does.
Similarly, Washington is far more interested in showing Texas as a raging hotbed of horrifying injustice than dealing with the intricacies of debate. There’s a diabolical drawling sheriff (John Heard) who has “failure to communicate” written all over his puffy red face (never mind the neck) and a typical Southern citizenry who use gentility to mask outright personal disgust. We even get the mandatory moment when the educated, erudite black man – in this case, the direct and dignified university President – gets demeaned by a couple of card carrying bumpkins, the better to establish the obvious social dynamic at play.
Let’s face it – racism is a repugnant part of our nation’s notoriety, and no story like this can avoid the subject. But you’d figure with individuals behind the scenes like Washington, Whitaker, and producer Oprah Winfrey, there’d be more thought behind how it’s portrayed. Instead of a constant, the prejudice around Wiley appears like an occasional inconvenience. The only time the fear factor works is during a late night drive when the team comes upon a particularly disturbing lynching. The mob mentality is pure evil incarnate.
In addition, you’d figure a film about the power of words would have something more solid to say on the subject. But aside from a midpoint putdown of a student’s desire to know more about Tolson, and the last act oration, the speeches are constantly compromised. Washington wants to have it all – the great performances, the stellar cultural commentary, the obvious underdog vs. the establishment take down, the smaller interpersonal moments that make a movie sing. And while his cast is quite capable and willing to work with him, (young Whitaker is especially good, encompassing great wisdom while still lost in an adolescent’s torn psyche), he shutters their performances. In its place are questions left unanswered and inferences all but unexplored.
Still, what’s on the screen is engaging and interesting, almost from rote. We know where the movie is going from the minute the team is announced, and the dynamic between the students is as clear cut as broken glass. There will be petty jealously, personal doubts, and the last act decision to rise above both. The debate scenes feel truncated and underdeveloped, as if the creative team figured no one would sit through an actual exchange of ideas. It’s a mainstream, middle of the road approach that keeps this film from finding the inspiration inside the situation.
And yet we cheer. We want Wiley to win, to take down the decent (if slightly stuffy) Harvard men and show them that color creates no boundaries, just plausible positivity. We enjoy the acting and delight in seeing fresh new faces tear into the established stars. There are moments of great joy, great sorrow, great interest, and great contrivance here. Oddly enough, only the debaters themselves wind up being similarly grand. As a movie, The Great Debaters misses too many possibilities, and harps on too many ancillary issues, to be stellar. As a DVD, it misses a golden opportunity to put all our personal qualms to rest. Instead, it continues to tow the motion picture party line. This makes both formats solid, but that’s all.