[This is a re-post of my review from the 2016 Toronto International Film Festival.Lovingopens this weekend in limited release.]
You’ve seen this story before: period setting, emotions running high, progressivism triumphing over backwards-thinking prejudice. But you haven’t seen it like this. WithLoving, the fifth feature film fromTake ShelterandMudfilmmakerJeff Nichols, the true story of an interracial married couple just trying to live their lives in 1950s Virginia mostly follows the beats you’d expect from a film like this. However, thanks to an incredibly specific script and nimble direction from Nichols, the story plays out in quiet fashion, eschewing any major plot twists or sweeping music-filled moments of heartache or triumph. Instead, Nichols zeroes in on the lives of Richard (Joel Edgerton) and Mildred (Ruth Negga) Loving, taking a far more specific approach to this story, which in turn makes the film’s impact all the more genuine.
But Nichols isn’t simply satisfied taking on the issue of interracial marriage. ThroughoutLoving, the filmmaker tackles subjects like masculinity, the civil rights movement, and feminism in ways so subtle they may not register with all who view it. This anti-Lifetime Movie of the Week approach results in a far more real and emotional watch, even if it lacks the drive or fist-pump moments of more traditional fare.
The film begins in the year 1958, as Richard and Mildred Loving are happy to learn that they’re pregnant. In an act of pure love, Richard subsequently asks Mildred to marry him, and the two travel from Virginia to Washington D.C. for the ceremony, as interracial marriage is against the law in their home state. When they return home, however, they are promptly arrested for living under the same roof, and Richard is admonished for “knowing better” than to marry a black woman. In a stark example of the racism that persisted throughout the 50s and 60s, Richard is bailed out of jail the following morning, while the pregnant Mildred must remain in her cell throughout the weekend, until the judge is in on Monday morning.
Richard and Mildred plead guilty and are subsequently given a “lenient” sentence, whereby they must either dissolve the marriage or move out of state, not to return any earlier than 25 years. They reluctantly move to Washington D.C. and over the course of the next five years, have three more children, but the distance from her family—and her home—takes a toll on Mildred. Spurred by watchingMartin Luther King Jr.on television, she takes it upon herself to write a letter to Bobby Kennedy about their situation. The ACLU subsequently takes an interest in their case, seeing this as a path towards federally overruling any laws that ban interracial marriage, but their rising profile brings troubles of its own.
There is a version of this movie that exists that is possibly far more manipulative, twisting the true facts of the case in favor of more “dramatic” moments. Nichols isn’t interested in that. Instead, he revels in the slow path that the Lovings take, and at times the film’s quietness and pacing can give the feeling that you’re simply watching two people live their lives, not barreling towards a landmark Supreme Court case. That’s life, of course, but the movies demand the pace of a locomotive, moments that tell you when to cry via music cues, and intensely dramatic scenes of abuse and injustice. All these things abound inLoving—forward movement, emotional moments, and scenes of nail-biting tension—but they are crafted in unexpected ways. Nichols knows the movie that audiences have seen before, and he’s determined to offer something different, and in turn something far more moving.
Edgerton’s intensity is put to tremendous use as the quiet and brooding Richard Loving, who simply wants to make his wife happy, take care of her, and live their life. But it’s Negga who truly shines here in a breakout performance. The actress telegraphs so much with a simple look, and the quiet persistence of Mildred is so calm it takes a while to realize she’s the one driving this train towards the landmark court case. It may have been enough to simply see how this couple’s love resulted in equality for all interracial couples, but Nichols wisely addresses the inherent dichotomy in the Lovings’ relationship.
Richard is white. He’s always been white. He’s a white man who happened to fall in love with a black woman, and he wants nothing more than to be with her. He’s not so focused on the ramifications that their relationship could have for all interracial couples, and the disapproving looks he gets from his white co-workers and family no doubt take a toll on him. Richard would be fine living in the country with his family for the rest of his days. Mildred, however, is black. She’s always been black. So as she watches Martin Luther King Jr. marching on the television, she understands that while the fight for civil rights rages on in America’s big cities, she’s still under intense discrimination in the state of Virginia. As a result, Mildred welcomes the involvement of the ACLU and understands that if their case succeeds, it means they can in turn help a lot of people.
Nichols also digs into the role of women during this time, and Negga is brilliant at navigating the male-dominated waters, advocating her case to her husband while avoiding angry confrontations. Women of this time (and, unfortunately, still today) had to “play the game” in order to get their way. Mildred understands this better than anyone, not just as a woman, but as a black woman in America.
Alternatively, it’s clear that Nichols also wants to highlight the struggles that Richard is going through with regards to his masculinity. What is a husband in the 1960s if he can’t ensure the safety and well-being of his wife? Even Richard’s mother, while kind towards Mildred, tells him he made a mistake marrying her, so the seeds of doubt have long been planted, and in Richard’s many quiet moments we can see in Edgerton’s eyes that he blames himself for this predicament.
It’s this unwillingness to stick to a traditional lane that elevatesLovinginto a memorable and artful film. Nichols appears to continue his experimentation with narrative, following his twist on the sci-fi genreMidnight Special. In that film, Nichols stripped nearly all exposition and traditional narrative, assuming the audience is smart enough to infer the machinations of the plot while devoting his focus to character and theme.Lovingcontinues in this mold but is more successful, as the stripping of the plot and exposition allow the raw emotions and period-specific themes to shine. It may prove trying for some, and indeed it takes a bit for the film to get to the “meat” of the story, but the quiet intensity of Negga and Edgerton’s performances are enough to keep things interesting. Moreover,Nick Krollshows up about halfway through the movie as an ACLU-backed lawyer, providing some welcome levity while also proving himself to be an adept dramatic actor. His appearance is jarring at first, but he settles quite well into the tone of the film.
Lovingis a story that needed to be told, and indeed is unfortunately rather relevant today given the discrimination that gay marriage advocates still face in the wake ofthatlandmark Supreme Court ruling. But really and truly, it’s fortunate that Nichols was the one to tell it. No doubt there are other successful versions of this film that could have been made, but Nichols’ attention to detail, willingness to trust his audience, and desire to tackle multiple social themes of the time at once result in a rich, rewarding viewing experience.
Love is love is love is love is love, and the story of the aptly named Lovings transcends race, religion, or gender. To love is to be human, and if that universal emotion doesn’t connect us all, we’re doomed.
