Directed by | |||
| Michael Stevens | |||
Writing credits(in alphabetical order) | ||
| George Stevens Jr. | ||
Produced by | |||
| Aaron B. Cooke | .... | associate producer | |
| Bill Haber | .... | executive producer | |
| George Stevens Jr. | .... | executive producer | |
| Michael Stevens | .... | producer | |
Original Music by | |||
| Rob Mathes | |||
Film Editing by | |||
| Michael Polito | |||
Makeup Department | |||
| Gregory Bazemore | .... | hair stylist | |
Production Management | |||
| Troy Mosley | .... | production manager | |
Sound Department | |||
| Josh Morton | .... | sound re-recording mixer | |
Visual Effects by | |||
| Jake Hamilton | .... | main titles design | |
| Jake Hamilton | .... | visual effects supervisor | |
Camera and Electrical Department | |||
| Ted Erne | .... | remote camera specialist | |
| Helene Haviland | .... | camera operator | |
Editorial Department | |||
| Dave Oberg | .... | post production supervisor | |
Other crew | |||
| Ted Absher | .... | audience manager | |
| Torrey Butler | .... | production assistant | |
| Darius Clemons | .... | production assistant | |
| Stephon Crumbley | .... | production assistant | |
| Christian Kouma | .... | production assistant | |
| Alan Reback | .... | production accountant | |
| Cody Speer | .... | coordinator | |
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| Separate But Equal | Always Outnumbered | Othello | School Daze | Christmas in Washington |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
I know this came out for Black History month in the U.S., and it's right on target: illuminate a pivotal figure from our national past who was an African American. Show both the obstacles overcome and the world-changing effect achieved. That's a fine formula, and it works.
But George Stevens has gone beyond the formula, and this monologue, by the amazing Laurence Fishburne as Thurgood Marshall, with slide-show and lighting effects, is surprisingly powerful. They shine their light into some of America's darkest places, yet retain humor and hope. Fishburne uses all his registers, and is a delight to watch, as he persuades you that you are in the presence of the man who, with his argument in Brown v. Board of Education, triggered the end of legal segregation in the U.S, who became the Supreme Court's first African-American member. And who gives you all the context of that life.
If you let yourself, through a spell woven by the spoken word and evocative images on the wall behind the sparsely furnished set, you'll be transported into the life and world of Thurgood Marshall. It's entertaining, enlightening and ... over too soon.