'Harriet' is a good story, well-told and handsomely staged in traditional Hollywood biopic splendor with attention to differential details that makes it more than just a Mad Libs “based on a true story” drama
) directs with a confident hand, while Josh Toll’s gorgeous cinematography grounds the film in conventional-but-appreciated cinematic splendor. The film earns its PG-13 with a minimum of onscreen violence, emphasizing the unseen carnage and the emotional devastation of slavery over R-rated violence. The movie has the aspirations of an action-adventure “origin story” movie, its identical in structure to, but it lacks the budget or the real-world history.
This newfound freedom, in all senses of the word, is personified by Janelle Monae’s Mary, a free-born and educated black woman who helps “Minty” adjust to her new life and eventually choose a new name. There are a few choice moments when Harriet politely scolds those around her, those either born free or have acclimated to freedom, for not properly empathizing with or forgetting about the horrors of slavery.
Leslie Odom Jr. provides a warm empathy and levelheaded practicality to William Still, while Joe Alwyn offers glimmers of humanity, but not goodness, as Harriet’s former slave owner. Omar J. Dorsey offers nuance and shading as a black slave catcher. Tubman’s increased activism leads to public/anonymous adulation. The notion of her religious motivation, which may be the word of God or the aftereffects of a head injury, is underdeveloped even as she earns the nickname Moses.
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