SMALL AXE: RED, WHITE AND BLUE Review
There’s really only one thing that I resent about mainstream franchise films (well, two if you’re counting the bouts of unoriginality): while it’s great to see young, up-and-coming actors get their money after years of cutting their teeth on indie films, there’s also the loss of potentially great performances that would be found in the wide variety of films outside of their franchise abodes. One such young, up-and-coming actor being that of the relatively established John Boyega. First coming across my radar in the entertaining and stylish ATTACK THE BLOCK as a streetwise yet ultimately good natured hooligan, Boyega immediately made for a formidable central performer. But with such good performances comes recognition and soon enough, Mr. Boyega found himself stationed on the new STAR WARS trilogy where in each subsequent film, his presence and performance were gradually diluted. Occasionally popping up in smaller movies here or there in between shenanigans in a galaxy far, far, away, Boyega almost always gave a committed performance. Nevertheless, Mr. Boyega was stuck to a franchise that was seemingly intent on pissing off its rabid (VERY RABID in some cases) fanbase and even its own actors (Boyega included).
To say the least, it was a pleasure to see Mr. Boyega return to the world of “smaller”, more personal films especially if said personal films happened to reside within Steve McQueen’s impressive SMALL AXE series. The third entry in the series dedicated to portraying the plight of London’s West Indian community, a series that so far with MANGROVE and LOVERS ROCK involved a look at the racial tensions between the predominately black residents and their local law enforcement, takes a dive into the belly of its prejudiced beast with RED, WHITE AND BLUE. Into that beast plummets the bright Leroy Logan (John Boyega), a young biologist who decides to enlist in London’s police force, an organization that by the 1980’s was now looking to do some PR work through diverse hiring as an effort to pave over its shady past altercations involving minorities, including violent interactions with Leroy’s father (Steve Toussaint). Even with his own history of discrimination at the hands of police, Leroy sees a mission that is as necessary as it is fulfilling; an attempt to be one of the truly “good” cops and a true protector and friend of the neighborhood. But as he moves from the training grounds to the field, Leroy fully realizes just how deep the ugly mindset of racism resides within the force. Where MANGROVE observed the toll that waging a battle for equality had on a community, RED, WHITE AND BLUE gets more personal as it witnesses one man’s agonizing quest to stomp out prejudice from the inside.
While McQueen and co-writer Courttia Newland traverse RED, WHITE AND BLUE’s familiar story with enthralling energy, this entry once again finds its true strength in the humanity displayed by its real life subject. In the leading role, Boyega is simply exquisite. Bringing together his natural charm and steady presence, Boyega imbues the position of a good intentioned man sadly in over his head as he faces off against a system that seems intent on destroying him for even thinking of bringing equality to the police force. From microaggressions to flat out boisterous displays of racism, Boyega’s Leroy is slowly and mercilessly assaulted by his fellow officers (sans one other minority officer played by Assad Zaman who Leroy befriends) and indeed RED, WHITE AND BLUE threatens to become a never-ending barrage racism induced misery, but Boyega and his subject keep getting back up, head held high, a man determined to bring change. To McQueen and Boyega’s credit, Leroy never falls into the trappings of a 100% heroic role instead allowing moments of humane warmth to emerge in his scenes with his loving pregnant wife Gretl (Antonia Thomas) who, along with his unborn child, acts as a poignant reminder as to why Leroy keeps trudging into the dark. As with MANGROVE, McQueen and his writers understand and respect their trailblazing subjects while still managing to make them feel wholly and admirably human.
As McQueen races through Leroy’s first few years in the police force, RED, WHITE AND BLUE at times feels like McQueen’s entertaining WIDOWS in the fact that the director brings his unmistakable skill and style to a relatively conventional police story. As displayed in the director’s guaranteed talent for composing arresting shots and deriving exceptional performances from everyone in his cast, McQueen makes even the tried and true “underdog changing a monolithic business from the inside” film zip with McQueen’s own unique energy. Whether in sequences where the director shows his ability to handle action (a stellar chase scene alone that puts other action movies to shame in intensity and tension) or drama(any moments involving Leroy and his anti-cop father, played with wrenching anger by Toussaint), RED, WHITE AND BLUE always keeps your attention.
Even with the air of familiarity and despite a rather abrupt ending, RED, WHITE AND BLUE makes for another commendable entry in a series slowly but surely gathering its emotional strength. Where LOVERS ROCK took a delighted breath to bask in the joys of community after it faced assault in MANGROVE, RED, WHITE AND BLUE exhales and returns to battle, led by a man running on ideals and resolve, fighting for the better future of not only his unborn children, but their entire community.
4/5
