“The movie isn’t perfect, and some of it runs into conventional biopic trappings. But the best of it, in careful, watchful scenes you don’t expect, delves deeply and authentically into human grief and human resolve,” writes Tribune critic Michael Phillips.
Drive around enough and you’ll likely catch sight of a video billboard flashing momentarily on “Till.” Its image of the actors playing Emmett Till and, more prominently and in color, Mamie Till-Mobley, hang in place for a few seconds before being replaced by something else.
But this moment in the car needs no underlining and director Chukwu knows it, too. There’s no cut to an editorializing close-up indicating her dread, no music cue to overstate the feeling. It’s all Deadwyler, going through a series of subtly delineated feelings without words, and it feels authentically imagined and real.
Once he’s there, the beaten-down averted glances of his relatives, in the presence of every white person in the Mississippi town, make Emmett a vulnerable outlier. Buying candy at a white-run general store, he makes the mistake of wolf-whistling at the woman, Carolyn Bryant , working there. His future is sealed at that moment, and Emmett’s Mississippi cousins know it.
Quietly stunning scenes emerge throughout. In one, Mamie identifies the bloated, ravaged body of her son. The scene is not glossed over, nor treated as crude audience manipulation: We see just enough of what Mamie sees. In Deadwyler’s unerring hands, the shock, the tenderness and the tears burn clean and true.
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