Already familiar to audiences as the adolescent drug dealer Wallace on The Wire (an impressively unsentimental character who figures in what might be the series’ bleakest moment), Jordan disappears into role. Shooting on 16mm and integrating documentary footage into the editing, Coogler gives Fruitvale Station a feeling of realism that’s further consolidated by Jordan’s amazing performance.
FRUITVALE STATION FULL MOVIE YOUTUBE DRIVER
Jordan) preparing for the New Year’s Eve outing that we know will mark the end of his life, the film is grounded in an unshowy naturalism punctuated by blunt, tragic symbolism: a scene where Oscar chases after the driver of a car that’s run over a dog foreshadows his own fate as a victim of senseless, blindsiding violence. Structured as a day-in-the-life drama that shows its subject (played by Michael B. The sense of impending danger that permeates Locks also runs through Fruitvale Station, which Coogler scripted after combing through court testimony and spending time with Grant’s family. So in seeing that I thought, what if that was me?” We wear the same clothes, the same complexion. Seeing his friends-they look like my friends. “I couldn’t help seeing myself right there,” Coogler said in an interview with The Nation. Locks was shot while Coogler was developing his debut feature, Fruitvale Station, a film about the shooting death of Bay Area resident Oscar Grant by transit police on a BART platform. It’s a melancholy gesture of self-preservation through cultural erasure that anticipates an inevitable yet quietly devastating detour to a barbershop-although a beautifully staged final-scene twist deftly relocates the piece’s theme from the political to the personal. As he gets closer to the cops, the main character discreetly shoves his hair underneath a hoodie. The title is a double entendre: Within the first two minutes of Coogler’s student debut, the camera has gone in close on the protagonist’s dreadlocked hair and a pair of handcuffs being slapped on a similarly coiffed young man he passes on the street after leaving his house. “I admire filmmakers who let the type of story dictate the cinematic style, dictate the mise-en-scène, dictate how they approach, how they capture, how they work,” the now-31-year-old Oakland native told The Dissolve in 2013, and that searching, intuitive sensibility, distinct from both the loose, aimless vibe of mumblecore or the suffocating formalism of micromanager-auteurs, is palpable in 2009’s Locks. It’s possible to watch the first short by Lucas’s fellow USC grad, Ryan Coogler, online as well, and it’s very much worth it: It’s ground zero for a director whose combination of smart storytelling instincts, technical skill, and sociopolitical savvy has proved formidable in a short period of time. By the time Star Wars: Episode IV-A New Hope was released, George Lucas had gotten everything experimental out of his system. At the other end of the spectrum, it’s hard to reconcile 1966’s Herbie, which gently juxtaposes reflected city lights and the jazz stylings of Herbie Hancock, with the film its codirector made 11 years later. Both David Cronenberg’s low-fi/sci-fi From the Drain, shot at the University of Toronto, and David Lynch’s abstract animation Six Men Getting Sick point toward their respective creator’s visionary futures. James Cameron’s 1978 short Xenogenesis, about a deep-space expedition that goes awry, is clearly a warm-up for Aliens, right down to the climactic battle between a monster and a woman operating a massive cargo loader. Sometimes those early works can be easily connected to the movies that made them famous, and sometimes it’s hard to spot the continuity at all. Going back to the amateur or student films of great directors can be quite fun.
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