With the world in chaos, this formidable film explores hate, prejudice and injustice throughout history, all still present now. This film flew under the radar, and, although eligible for Oscar consideration, received very little traction. Writer/Director Ava DuVernay cast Aunjanue Ellis-Taylor as Isabel Wilkerson, the author of “Caste, The Origins of Our Discontents,” upon which this film is based. We think DuVernay’s film and Ellis-Taylor’s talent definitely deserved more attention for it’s current subject matter and for her composed performance.
This biopic is told through the eyes of Wilkerson on her intellectual journey to explain hate. The nearly 700 page best selling book club favorite won the Pulitzer Prize, the first for a Black female author. And the screenplay was co-written by DuVernay and Wilkerson herself. She certainly has the credentials. Wilkerson was Chicago Bureau Chief for the New York Times and taught at Emory, Princeton, Northwestern and Boston Universities.
Wilkerson started her journey to write this book when her editor Amari Selvan (Blair Underwood,) wanted her to listen to the 911 calls surrounding the 2012 murder of Trayvon Martin. Wilkerson was dealing with her own family tragedy and didn’t want to pursue it, but once she listened to tape of the 911 calls, she felt compelled to investigate another killing of a young Black man under questionable circumstances.
It triggered a global path to find out why injustice kept happening again and again while she was going through her own pain. Wilkerson decided to keep researching during a year filled with personal grief. Her devoted husband, Brett Hamilton (Jon Bernthal). Bernthal is supportive of her taking on the assignment. He plays the loving husband with compassion and understanding. He dies suddenly, and then her loving mother, Ruby (Emily Yancy) passes away. Her world is coming apart. Cousin Marion (Niecy Nash-Betts) is there for Isabel, encouraging her to keep going, and struggle through the added push back by Sabine (Connie Nielsen) and her other skeptical colleagues.
During research in a Berlin library, Wilkerson comes upon a photo of a young man in Germany from the 1930’s who was the only one in a sea of men arms crossed, not giving the “Sieg Heil” Nazi salute. Further research uncovered his story, re-enacted in this film. The young man (Finn Wittrock) loved a Jewish girl (Victoria Pedretti) which was not accepted. When caught together, the girl was singled out and sent to a concentration camp, never to be seen again. There are frightening scenes of book burnings and more of what went on in Nazi Germany which could easily happen again, in light of the recent rise in anti-Semitism around the world. The film shows the inhumane way Jews were treated because of one mad-man’s disdain. Hitler was afraid they would taint his society, even though their skin color was not indistinguishable from any other German.
DuVernay creates scenes of African slaves chained up in the holds of ships bound for America. Cinematographer Matthew J. Lloyd (Marvel films and music videos) films them head-on looking into the camera screaming in pain as they are being brutally beaten and more from behind. It is relatively brief, but that doesn’t make it any less devastating to watch.
Wilkerson’s research leads her to India where “untouchables” are given no opportunity to live in mainstream society. They are considered the lowest of the low in the caste system which has been in place for thousands of years. DuVernay directs horrifying scenes of men whose only job is to clean the sewage system by diving into tanks of excrement. Wilkerson sees the common thread through all these examples as a caste system designed to keep certain groups powerless.
Wilkerson’s realization from her research is that it is not about race. A very effective montage of all of the threads and scenes is presented to make the case which becomes an emotionally charged recap leading to her conclusion. DuVernay shows the author’s supposition that it’s really the pervasive lack of respect and human dignity which is present in so many societies. She adds powerful scenes showing children in the United States in the 1950’s being separated from other children in a gut-wrenching segment at a pool, just because they were Black. That, too, reiterates the lack of respect for everyone.
A scene from Wilkerson’s life preparing her mother’s old house for sale comes later, back to her personal life. Nick Offerman startles playing a plumber wearing a MAGA hat who has come to estimate repairs on the flooded basement. It’s a short scene that puts an exclamation mark on cross-cultural interactions. She outwits the workman, engaging him in conversation and, finally, gets him to help, knowing he didn’t want to. It’s an unusual role and scene for Offerman, but he plays deadpan well.
Aunjanue Ellis-Taylor shows every emotional nuance in her controlled performance. in what she calls “The People’s Movie.” Despite no love from the awards community, DuVernay’s Origin is a relevant film about human dignity and justice that should be seen.
NEON 2 hours 15 minutes PG-13
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