Top-notch melodrama-rendering of a true story of inspiration

Rating: Null/10 (27 February 2010)

When people say "real life is stranger than fiction" they can't be talking about making a motion picture from a true story. What usually happens there is that "artistic touches" have to be applied to give the audience what they usually expect from a movie – suspense, explosive conflicts, convoluted plot twists, tragic turn of events and such (within limits, not over-fictionalizing). In short, people want melodrama. Some movies overdo it. "The blind side" has just the right, sensible touch.
The same thing can be said from the angle of a football (this is not soccer, sorry) fan. The exciting positions in an offensive team are the quarterback (leadership, impeccable combination of intelligence and skill), running backs (bread-and-butter action), wide receivers (spectacular feat and punishing price to be paid – a rock-hard helmet ramming at the unprotected ribs) and tight-end (versatility). Less exciting are the five guys at the line of scrimmage – centre, guards and offensive tackles (Michael Oher, our protagonist, is one). Throwing a block can be exciting to watch, but not quite as much as what these other guys do. Again, "The blind side" has the right touch in extracting the excitement out of this aspect of the game without overdoing it.
As mentioned above, this is a true story, quite a simple one: an upper-middle class Republican family bringing a depraved and deprived black kid into their home, first out of charity, then eventually making him truly a part of the family. This is a feel-good, heart-warming story but being a true story, limits the cinematic elements mentioned above. What makes it work is a good, solid, unpretentious script that moves the story along with good humour and not overwrought sentimentality. Almost overused is the technique of "echoing" a line spoken earlier in the movie, for comic or poignant effect. It works every time. Doubtlessly, some would allude to such things as manipulation of the audience's emotion. If you think about it, this is like going to a health spa and then criticising the masseur for manipulating your muscle! The audience do go into the cinema to have their emotions manipulated. The point is how it is done – tastefully or clumsily. With "The blind line" it's obviously the former.
But most importantly, it's the two protagonists, played admirably by Quinton Aaron and Sandra Bullock.
The key to the character of all star defence tackle Michael Oher, as portrayed in this movie anyway, is one particular aspect of his psychological profile – the near perfect (98%) score in protective instincts. This has double meanings, as the movie sensibly makes no mystery about. The first is self-preservation. Childhood trauma taught Michael to hide in a shell and reveal as little as possible about himself. The other is the more literal, application – the essence of the job of an offensive tackle. Aaron plays his role well, taciturn (but not sullen, as there is always a barely discernible suppressed smile when something good happens) at first, then gradually opening up and all the time portraying also the impeccable decency of his character.
This movie, however, is Sandra Bullock's show. Leigh Anne Tuohy should be pleased of Bullock's portrayal of her, Memphis southern accent and all. Happy also are Bullock's fans, for her first major award, the Golden Globe. Her achievement in this film has also been recognized by her peers, in the Screen Actors' Guild award. It's most interesting to compare the two top rom-com stars in the last two decades – Bullock and Meg Ryan – their transition to a more "mature" phase of their screen persona. At one point, it seems that neither is getting anywhere, especially Ryan, with the failed attempt in "In the cut" (2003). Bullock tried with "Murder by number" (2002) without much success. Now, with "The blind side", she has served notice, loud and clear, that she has landed. The reason seems clear. Ryan's sweetness cannot be carried over to the next phase of her cinematic progression while Bullock's rough edge becomes her as a mother with a teenage kid. As a woman who knows exactly what she wants and dares to stare down any adversary, trash-mouth red neck white coach and threatening-talking black drug dealer alike, Bullock shines, helped also by her cryptic, punchy lines in the script. The additional edge that wins her Golden Globe is her ability to add a touch of the tenderness in her heart "underneath the layers of onion".
The rest of the cast radiates warm alike: Tim MaGraw as the perfect husband, Lily Collins as the sweetness personified teenage daughter and, best of all, Jae Head as the know-it-all little brother with one tenth of Michael's size and a larger-than-life screen presence. Deservedly, he won a couple of "young actor" awards. Finally, in a small role as Miss Sue, Michael's private tutor (and heavens forbid, a Democrat), Kathy Bates is simply wonderful, as always.