**** out of 5

Rating: Null/10 (6 July 2003)

The Hurricane is none but three films in one, not a surprise considering the screenplay by Armyan Bernstein and Dan Gordon is an adaptation of no less than two books, one of which being the title character's own. One of the self proclaimed, nirvanas is a biopic. Tough, blatant, straightforward. It dictates the life and struggle of Rubin Carter, whose childhood was not an easy one, `All I have to say about my childhood is that I survived it.' The second is an expression in struggle, interest and self-motivation. It is about a boy of little intellect who is motivated to be more than he is given credit for after he is taken out of his home and educated by three white Canadians. It exists outside of the first and works because it focuses around the main idea and not inside of it. The third is about a trial; it is a search for answers and a way to simplify things into film formation. I liked the first two concepts; they worked well together, accenting one with what the other couldn't say in its period. The third on the other hand is where flaw strikes. Not because it is any less important or significant than the others but because it presents no idea of establishment, only rousing scenarios that pit the film against its earlier offerings instead of furthering their conclusions. I went into this film with something that I did not walk away with: thoughts, opinions and questions. In turn I was drained of such feeling as I watched a pedestal of thoughts, opinions and questions culminate that addressed my expectations before even I had a chance too. Rubin `the Hurricane' Carter was a middleweight prize-fighter that spent almost half of his life in jail due to the racism that sprouted from a corrupt police force. An undertone in the film that presents nothing more, story wise at least, than what would be perceived at face value to the real life true story. He was falsely convicted of murdering two men and one woman in a bar during the year of 1966 that is never given a reason for by this film, a good call on behalf of Canadian director Norman Jewison. The first half of the film is based around the life of Carter through flashbacks, as a young black boy named Lesra reads Carter's book, the first and most empowering book the boy will read. Lesra becomes so inspired by the parallels between Carter and himself that he takes a personal interest in the case. Carter amazes Lesra; he sees something in him that only a boy of struggle could understand. And just as equally, Carter sees something in Lesra that only a man of confinement could behold. This leads Lesra to persuade his three Canadian mentors to help Carter fight his case for freedom, collecting facts that were overlooked as evidence the first time around. Carter struggled for freedom for twenty-two years and that final trial is shown in the films third act (a palpable weak link in my opinion). Still the Hurricane works on the basis of discovery. Jewison plays things smart by placing the burden on character and not their surroundings. You want to learn because you care about the characters and not what they did. I guess that is why the ending is weak, it tries to explain the actions taken during Carters life and tries to peg people as labels instead of characters. The screenplay also touches on race, maybe `touches on' is an understated adjective but nevertheless the ideas are there. Carter's resentment towards white people is a strong running theme throughout the film, sometimes even over taking the story, leaving things awkward and confused, seemingly forcing opinions on the audience in a film that wants you to form them for yourself. The direction from Jewison is superb; this is his best film since In Country. This material works well because Jewison knows how to present it in a manner that symbolises something that would not otherwise be stated. This is not a film about jail, or freedom. It is not about boxing or commitment. It is a film about struggle, defiance and personal motivation, as directed metaphorically to be something that you can both connect to and understand as a singular unit. Denzel Washington stars as the title character in a brilliant portrayal of real life struggle that almost seems born for Washington to play. He retains exactly the right amount of poise and suppressed idealism to manoeuvre around the entire emotional ark of Carter, making him just as much a symbolic presentation of determination though suffering as a real life hopeful. He never lets things slip into a pit of sentiment. Even when the story seems to be headed down the insincere path to happiness, Washington brings things back to reality. He reminds us that this is a man whose life has been built around little in positive respect. Washington has crafted a career around films that allow him to express what he has to offer as an actor and not just the dialogue he speaks, this one is no exception. He is one of those rare actors that can make even the drabbest dialogue seem meaningful. Even through insightful phrases like `Hate put me in prison, loves going to bust me out,' The Hurricane worked on so many more levels of exploration than just deliberate sentiment. This film goes deeper than that, its suggests that emotion is created out of feelings and not assumptions. The end result of this film is like a boxing match. It is unpredictable and could possess many outcomes. It will disappoint some and amaze others. It is tough and filled with spite, but the fight lasts not out of courage, but out of instinct.