The film follows the life of famous 1970s runner Steve Prefontaine from his youth days in Oregon to the University of Oregon where he worked with the legendary coach Bill Bowerman, later to... See full summary »
This film tells the story of Rubin "Hurricane" Carter, an African-American man who rose above his troubled youth to become a top contender for the middle-weight boxing title. However, his dreams are shattered when he is accused of a triple murder, and is convicted to three natural-life terms. Despite becoming a cause celebre and his dogged efforts to prove his innocence through his autobiography, the years of fruitless efforts have left him discouraged. This changes when an African-American boy and his Canadian mentors read his book and are convinced of his innocence enough to work for his exoneration. However, what Hurricane and his friends learn is that this fight puts them against a racist establishment that profited from this travesty and have no intention of seeing it reversed. Written by
Kenneth Chisholm <firstname.lastname@example.org>
Some of the plot and character points fictionalized or ignored include:
Carter was actually convicted of three muggings and served four years in prison prior to his murder trial
Carter and Lisa Peters eventually married and later divorced
In reality, there was no Det. Della Pesca
Carter did not give a speech in the courtroom when his conviction was overturned and Lesra was not in attendance
Carter was actually released from prison for 4 years between his two trial convictions
Carter was dishonorably discharged from the military after four court-martials (after just 21 months' service)
There actually was no evidence found that proved Carter's innocence. The reason his conviction was overturned was because the prosecution mishandled much of the evidence it had that Carter did commit the murders. When all the evidence from the real case is looked at, it seems more than likely that Carter was guilty of the murders, but got off on a technicality during his second trial.
The Real Della Pesca, Vincent DeSimone, never met Carter before the Lafayette Grill incident. He also died in 1979, so he never met the Canadian couple, nor he attended the trial 1985.
Jewison's film is an old-fashioned biopic, complete with pivotal backstory, voiceover narration, and a character who enters the protagonist's life and changes it immeasurably. It's one of those stand-up-and-cheer movies where everyone seems to be against the hero, but above all odds (and with more than a little help from some of his friends), he rises above The System and gets his belated due. It's an oft-used scenario, with many scenes that could easily have been taken from Jewison's other films A SOLDIER'S STORY or IN THE HEAT OF THE NIGHT. Yet despite the familiarity of the storyline, I'll be damned if I wasn't choking back tears of elation at the movie's triumphant conclusion. It's a masterful piece of filmmaking that proves Norman Jewison's skill as a director, as he transcends the cliche-bound script and, with the help of Washington and company, makes it a powerful entity all its own.
As the Hurricane, Denzel Washington proves he is one of the best actors (if not THE best) in the business today. He can run the gamut from cold hatred to hearty laughter like few others can. He brings dignity and class to every one of his pictures (he was the only thing worth watching in THE BONE COLLECTOR). Here, he makes you FEEL every single thing he's feeling. In times of righteous indignation, you feel morally outraged alongside him. When he's at his most vulnerable, you can feel your throat constricting and your eyes watering. He has an uncanny knack for reaching into your soul and making you part of the picture itself; it's almost as if he's channelling the viewer while acting. Other actors delight in wowing the audience with grand theatrics and histrionics, but neglect to make the audience care; Denzel is usually soft-spoken and low-key, but always holds your attention.
In summary, THE HURRICANE was one of the most exhilarating motion picture experiences I've had all year. Norman Jewison directs with a deft surehandedness reminiscent of his late 1960s/early 1970s glory years, Denzel Washington delivers perhaps the most awe-inspiring performance of the year, and the audience goes home happy and feeling good about themselves and the world. What more could be asked for?
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