As a film enthusiast with a penchant for the unconventional, I must say that RaMell Ross’ “Nickel Boys” left me utterly speechless and deeply moved. Coming from someone who has witnessed a fair share of cinematic masterpieces, this film stands out as one of the most impactful experiences I’ve had in recent memory.
At a certain instant, a camera flash pops. This instantaneously takes a photograph. The picture shows two male students from Nickel Academy, one Caucasian and one African American, standing next to a pickup truck. Over the following days, this photo will be widely published in newspapers. The media will exclaim, “See how effectively this institution shapes our young men!” People will use this image as evidence that Nickel Academy is transforming “troubled” youth into valuable contributors to society.
The film “Nickel Boys” illustrates a common theme: what images portray might not reflect truth. In the hands of writer/director RaMell Ross (based on Colson Whitehead’s 2019 novel, “The Nickel Boys”), the movie is filled with old instructional videos, faded photos, and even references to “The Defiant Ones”. These historical elements have often shaped American culture but can present a distorted view of reality. In contrast, the film offers a more personal perspective through its protagonists’ eyes, revealing the truth hidden behind those neatly framed photographs.
In “Nickel Boys,” I find myself nestled on a serene lawn, with young Elwood (initially portrayed by Ethan Cole Sharp, later beautifully embodied by Ethan Herisse) extending an arm beneath the warm embrace of sunlight. This character becomes our focal point throughout the narrative. We witness his contented home life under the tender care of grandmother Hattie (brilliantly played by Aunjanue Ellis-Taylor), a woman who nurtures a future filled with promise for Elwood. One of his teachers even encourages him to explore advanced courses at a local technical college. However, this is a time of significant change – the 1960s – a period where influential figures like Martin Luther King Jr. and Malcolm X are advocating for transformative reforms across America.
You never know when your life will change forever. A simple act of hitchhiking leads to police accosting Elwood. Afterward, they claim he’s connected to an automobile robbery. Elwood is now forced to attend Nickel Academy. This brutal segregated institution is run by folks like Spencer (Hamish Linklater). The leaders here speak openly about Nickel Academy attendees must “become obedient” and never rebel if they want to have any hope of leaving. These expectations are carried out through unpaid manual labor, rigid lessons, and an endless wave of physical abuse. The inexperienced Elwood eventually befriends the cynical Turner (Brandon Wilson), a teenager returning to Nickel Academy after a previous stay and a brief brush with freedom. Their bond leaves a mighty impact on Elwood even as he grows into a man (played by Daveed Diggs) who can’t escape the trauma he experienced.
In essence, cinema is often experienced as a passive spectator sport where viewers are placed like divine observers outside the action. Early sound films went so far as to exaggerate this by filming musical sequences in wide shots that mimicked being in the last row of an auditorium, watching a live stage performance. However, films later adapted and perfected this approach into something more adaptable and thrilling. Contrastingly, Ross and cinematographer Jomo Fray break this norm with Nickel Boys. Here, they prioritize intimacy, making this production the polar opposite of what we find in the framing of The Broadway Melody.
Hollywood sometimes experiments with creating films from the perspective of those who lived it, often resulting in found-footage genre movies that maintain a barrier like a camcorder between viewers and characters. Even movies like “Suzhou River” are filmed through a camcorder, not directly through a person’s eyes. Most genre films, such as the overly macho “Hardcore Henry,” have fully embraced first-person filming. In contrast, “Nickel Boys” tells its story seamlessly using this approach. The cinematography is astoundingly impressive yet manages to remain unobtrusive, a feat all great technical movie qualities aim for. While watching “Nickel Boys,” I felt as if I were inside Elwood and Turner’s point-ofview, with thoughts of “How did they capture that camera angle?” rarely entering my mind. Instead, I was too engrossed in marveling at Aunjanue Ellis-Taylor’s profoundly controlled yet emotionally resonant performance!
In the novel “Nickel Boys,” creativity in visual storytelling is omnipresent. This encompasses not only what Ross and his team present visually, but also the unspoken elements that resonate deeply. Although the physical agony endured by the Nickel Academy students isn’t shown explicitly on-screen, its echoes are heard vividly. We witness the consequences of these atrocities, undeniably. The torment of Elwood at the hands of Spencer is conveyed through flickering static images of various Nickel Academy students. This artistic choice underscores the diverse reactions characters exhibit in response to persistent turmoil. The contrasting perspectives of Elwood and Turner serve as one example of this, while the meeting of adult Elwood with Chickie Pete (played by Craig Tate) offers another.
In the final scene, the camera placed behind Elwood offers a prolonged, riveting view, catching Pete’s disturbed expression as he reminisces about his harrowing childhood experiences at Nickel Academy, where he had to walk through what seemed like human flesh and blood. This fixed shot effectively portrays the lingering effects of adolescent trauma on Pete, with Tate’s physical gestures and tense dialogue delivery. Ross maintains a consistent focus on the contrasting reactions to these psychological wounds between Pete and Elwood throughout the film. The visual emphasis in this scene contributes significantly to the powerful imagery that remains etched in our minds. Notably, another instance of such compelling cinematography is demonstrated through a point-of-view shot set within a moving boxcar, reminiscent of the slow-motion videos often found on YouTube.
In these incongruous shots, the way light dances across the boxcar is truly captivating. Ross and Fray carefully capture countless tiny, everyday details, such as cascading light beams, which add warmth to even the simplest scenes. For instance, a ceiling fan pull chain wrapped around a child’s finger or Elwood and Turner looking up at their reflection in a mirror-covered ceiling. While Nickel Boys tackles heavy subject matter, it ultimately emphasizes the importance of deep connections between individuals. By highlighting its warmest images, the film manages to convey, among other achievements, one of the most powerful portrayals of a hug ever captured on film.
In the film The Nickel Boys, Editor Nicholas Monsour skillfully arranges powerful visuals in an engrossing, non-chronological manner. Instead of using narration, the movie sensibly lets viewers navigate different phases of Elwood’s life. This deliberate choice showcases Ross’s subtle yet impactful creative decisions on The Nickel Boys. The vivid imagery and thought-provoking editing stand out without needing a didactic voiceover for explanation.
In addition, the absence of explicit guidance (due to the confined perspective offered by the film’s aspect ratio) underscores Elwood’s persistent confusion about his suffering at Nickel Academy throughout his life. As a child, he was not fully aware of the circumstances, and even as an adult, answers continue to evade him. The visuals, which are more open to interpretation than explicit explanation, align perfectly with this theme. Moreover, the auditory aspects of The Nickel Boys are equally impressive, contributing significantly to its overall impact.
This features an extraordinary original soundtrack by composers Alex Somers and Scott Alario, who previously collaborated with Ross on “Hale Country This Morning, This Evening”. For this project, Somers and Alario deliberately construct a soundscape that is in conflict within itself. Conventional orchestral elements clash aggressively with intriguing dissonant tones. Unusual sounds such as tense violin strings, harsh crackling noises, and imitations of a record skipping are scattered throughout their compositions.
As a fervent admirer, let me say that the rugged interjections in their score for “Nickel Boys” powerfully resonate with the complexities of minds grappling with trauma’s chaos. Abuse isn’t discriminatory; it can stem from any source, at any time. Much like the echoes of abuse, the music’s erratic rhythms persistently reverberate throughout one’s life, a chilling reminder of past struggles. Remarkably, authors Colson Whitehead and composers Nicholas Britell achieve this profound portrayal while weaving into the score unspoken feelings that bind the characters together. Truly, these compositions are a breathtaking exploration of human resilience and emotion.
In the novel “Nickel Boys“, the sound design is just as captivating. Artists such as Joel Scheuneman, Kirby Leonard, Curtis Henderson (and many more) produce outstanding work, ensuring that even the smallest sounds in this world resonate significantly. For instance, the sound of a marble rolling down stairs creates a distinctive crack as it tumbles down. A touching monologue from Hattie, while she’s slicing a cake, is gently underscored by soft noises like a napkin brushing off a knife.
In the reunion scene between Elwood and Chickie Pete (Craig Tate) in “The Nickel Boys,” there is little or no background music. Instead, the sounds of a tavern – clinking glasses, voices chattering – take center stage. This choice brilliantly underscores the distance between these two characters, as if to say their words are not necessary to express their emotional divide. The careful selection and use of these everyday sounds greatly enhance the novel’s immersive, first-person feel. The vivid visuals captured by RaMell on screen resonate so deeply because of these subtle auditory touches.
Towards the end of “The Nickel Boys,” we get to see old home videos from around 2000, depicting Elwood with his wife. The grainy footage, filled with minor flaws, shows them laughing and Elwood professing his love for her. However, like that ’60s photograph, these videos don’t tell the whole story of their lives. It’s unlikely they were always this joyful. Moreover, these brief moments offer no insight into Elwood’s overall psychological makeup. They merely present a fleeting glimpse into their existence.
This homemade video, despite being simple, embodies humanity. It’s a trait that the Nickel Academy seeks to eliminate from its students, under the guise of “obedience.” This aspect is consistently highlighted in the visual narrative of the book, Nickel Boys. Hattie’s deep affection for her grandchild, the unlikely friendship between Elwood and Turner, a fleeting romantic interest between a woman and Elwood in the 70s, and the intricate relationships and emotions among these characters are portrayed exquisitely within the daring filmmaking style of Nickel Boys. It’s no surprise that this directorial work by RaMell Ross is as emotionally stirring as it is visually groundbreaking.
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2024-11-26 16:15