As a film critic with a deep interest in cinema that challenges and evokes thought, I found “Nickel Boys” to be a profoundly moving and impactful work. The poetic imagery, even the difficult ones, leave an indelible mark on one’s soul, offering a glimpse into life through the eyes of another. It’s not often that a film can make me feel so connected, so complicit in the story unfolding before me, but RaMell Ross has managed to do just that.
In the movie version of “The Nickel Boys” by Colson Whitehead, director RaMell Ross primarily narrates the story from a personal perspective. The camera functions as the viewing device for our main characters, Elwood (portrayed by Ethan Herisse and Daveed Diggs) and Turner (Brandon Wilson).
According to Ross, the unique viewing experience for the premiere of “Nickel Boys” at the 2024 New York Film Festival opening night, as shared with The Hollywood Reporter, aims to make the audience feel like they’re in the character’s shoes – a concept he refers to as an “experiment in perception.
Ross expressed his curiosity about how Black people might react to seeing their perspective reflected literally in an image, at the same time as the standard cinematic image. He also pondered how non-Black viewers would feel when trying to understand someone else’s experience through this unconventional approach. In essence, he viewed it as an exploration of perception that aims to align fictional characters, lived experiences, and sensory realities with the viewer, which he found intriguing.
The story Nickel Boys centers around Elwood and Turner as they endure their days at the imagined Nickel Academy, which bears similarities to the actual Dozier School for Boys in Florida. This institution, active from 1900 to 2011, is notorious for accusations of physical abuse, sexual assault, and even murder, with victims’ bodies reportedly buried in a hidden cemetery.
Cinematographer Jomo Fray says his and Ross’ goal with lensing the movie was “immersion.”
Fray expressed that what they truly sought was an image that was deeply engaging, one that would draw us, the viewers, into the narrative,” Fray shared with THR on the NYFF red carpet for The Nickel Boys. “Our main focus was to ensure the image always seemed precarious. Navigating the Jim Crow South as a Black man was perilous, so making the image appear potentially hazardous at any moment would reflect the experiences of those who lived through it.
Fray further explained that this method is designed not only to convey “the beauty, the joy, and the amazement that simply arises from existence and humanity,” but also to express these feelings even during periods marked by inhumane conditions and restrictive laws.
The method also offered Fray a more immediate engagement with the performers, immersing him “in the heart of their emotions,” as he put it.
Fray stated that when the camera gets close to an actor, it’s as if he himself is embracing them. He explained that this creates a unique bond between the photographer and the subject, setting it apart from merely observing people express emotions. In many instances, Fray feels like he’s part of the scene itself, requiring emotional openness akin to the actors to better capture their performances through the lens. This also allows for a more direct interaction between him and the actors than ever before in his career. He believes that this experience has given him a profound respect for cinema, as it offers a perspective from within emotions themselves.
In the film, producer and co-writer Joslyn Barnes explained that the unique perspective aided Jordan Peele in finding a solution for “navigating the twist from the book.” Meanwhile, Daveed Diggs, portraying the character Elwood as an adult, shared with The Hollywood Reporter that it was Peele’s engaging approach to filmmaking that convinced him to join the project.
For the preparation part, Diggs mentioned that he had numerous discussions with Ross regarding what he refers to as a “technically demanding job.
Diggs mentioned to THR that he boarded a train that was already in motion due to its unique cinematography. He requested Ross to share lots of video clips so he could grasp the narrative being conveyed visually.
Despite the fact that the boys at Nickel Academy endure abuse and, tragically, meet their untimely demise in some instances, the movie strategically avoids depicting such violent acts on-screen. Ross explained this creative choice as a means to limit the exposure of distressing imagery.
Ross stated that he doesn’t wish to replicate it since there’s already plenty of it, and much of it is extremely valuable for our understanding and insight. However, after some point, it can become repetitive and lose its emotional resonance or impact. This realization makes one think of numerous alternative ways to approach the same subject matter. Once you decide against doing it, you find yourself thinking, ‘Wow, there are thousands of other approaches I could take instead. Why don’t I give one of those a try?’
Fray mentioned that Ross made it clear to him he wasn’t comfortable with any “depictions of violence” or “use of racist language” in the movie.
In essence, we aimed to portray aspects that were characteristic of the Jim Crow South and Nickel Academy. Our goal was to present unfamiliar images, realities, and viewpoints to explore deeper meanings. Sometimes, when things are depicted in a traumatic or graphic manner, it can obscure the discussion. It may lead us to focus more on the violence itself rather than the inhumanity of the situation.
Herisse stated that the movie’s “poetic” visuals, including the challenging ones, have a profound impact on viewers. They linger in your mind, creating a sense of having witnessed life from another person’s perspective, an impression that remains indelible.
Although there’s no explicit violence shown in the film, Herisse mentioned that the handling of such themes leaves a profound impact and lingers with the audience.
Moreover, Aunjanue Ellis-Taylor, the actress portraying Elwood’s grandmother, intends for the movie’s audience to feel a personal impact, which is her primary aspiration.
She shared with THR, “I truly hope that it resonates deeply with people, inspiring change beyond measure. My wish is for it to broaden and deepen our collective imagination regarding the limits of cinematic expression.
Ross hails from the realm of documentaries – his 2018 documentary titled Hale County This Morning, This Evening, which showcased Black lives and injustice in a rural Alabama region, garnered numerous accolades. The novel Nickel Boys shares similar themes and techniques as it does with the former, using fleeting glimpses of images and everyday occurrences to sketch the ambiance of a place. After the screening at Tavern on the Green in Central Park, Ross was surrounded by numerous admirers from the documentary community, who were eager to express their congratulations and share in his transition.
This movie represents Amazon MGM Studios aiming for their second consecutive best picture Oscar nomination following their rebranding in spring 2023. They were successful in obtaining a best picture nomination and winning for adapted screenplay with their publishing-world satire titled American Fiction at the 2024 Academy Awards.
The unique format and approach of “Nickel Boys” might provoke some skepticism among certain voters. However, the chatter among attendees at the festival was overwhelmingly favorable, with many discussing it during social gatherings.
For his part, Ross expresses an interest in a project that transcends the realm of award ceremonies. He suggested that this film could serve as a focal point or representative for a collection of memories related to racial inequality. Essentially, he envisioned it as a cinematic artwork or monument that would endure as a symbolic Rushmore for future generations.
After the movie’s screening, during a subsequent Q&A with Ross, Fray, and the cast members, Ellis-Taylor shared her thoughts about the fact that while there was little onscreen violence in the film, some viewers have found it challenging to watch and have expressed feeling pessimistic after viewing it.
Although she was troubled, upset, and worried by this feedback, Ellis-Taylor expressed her belief that Ross’s movie has accomplished something remarkable in its portrayal of trauma.
What impresses me about RaMell’s work is his ability to make the suffering of Black children relatable, or shared among us all,” she expressed. “And while it can be challenging, I believe they didn’t receive something uplifting. They lacked a sense of companionship and an escape route. I feel that we, in some way, should experience a fragment of this. To me, RaMell’s brilliance lies in the fact that we aren’t merely spectators to these children’s experiences; we are involved and we feel their pain. This work stands out for me because we are not just observers; we become recipients of it.
Steven Zeitchik contributed to this report.
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2024-09-30 06:55