Loving April 28, 2017
If 2016’s Loving weren’t made to tell the story of Richard and Mildred Loving, the couple integral in reversing the illegality of interracial marriage in Virginia and other states, it would still nonetheless work as a moving, poignant love story. Whereas so many films similar in stature (like The Butler  and Hidden Figures ) sometimes verge on the preachy when addressing racism, Loving puts its frustrations on the back burner. What writer/director Jeff Nichols is interested in, and what he’s most attentive toward, is giving cinematic weight to the accidentally cinematic romance which sat between its title couple.
The film concerns their relationship from 1958, the year in which they married, to 1967, the year which saw the Supreme Court lift the ban on interracial marriage thanks to their unwillingness to let racist interference stand in the way of their love for one another.
With the couple played by Joel Edgerton and newcomer Ruth Negga, actors who effortlessly bring stirring vulnerability to their portrayals, we see historical drama in a way rarely afforded in mainstream cinema. We’re so caught up in their marriage, in the goings-on in their heads, that it isn’t uncommon to sometimes forget that we aren’t simply watching a sleepy, naturalistic Southern romance in full bloom.
And such is why Loving is among 2016’s premier features. It subverts the expectations of the biopic and finds the humanistic center often missing from the genre. “[The Lovings] weren’t part of a particular movement,” Nichols told Matt Fagerholm in a 2016 interview. “Their act of being married wasn’t one of defiance. It was one of love. And I think because of that, you are able to take these polarized points of view and points of discussion and bring them down to a very simple humanistic level.”
This statement holds steady even when the courtroom trappings do eventually become imminent – not a moment of Loving feels false, and not a moment resembles something found in a conventional biopic. It’s about as contemplative as a feature of its kind can get, and Nichols’ ability to stray far from the obvious is extraordinary. There isn’t a monologue, a slice of overheated theatricality, to be found.
But Edgerton and Negga are the facets which make Loving so mesmerizing. Edgerton, among the more underrated actors working today, represents the sort of average Joe bountiful in the broadened spectrum of our society: stoically masculine, soft-spoken, straightforward, hard-working. Nothing changes about him throughout the nine years during which we get to know him. He’s satisfied laying bricks day after day, taking in the comforts of living a predictable, placid life. Edgerton is so compelling because we empathize with Richard so deeply. Here is a perfectly ordinary man whose life has been made octaves more complicated solely because he fell in love with a woman deemed wrong for him.
Loving’s utmost revelation, though, is Negga, a 35-year-old actress who’s been active since 2004 and yet has never been able to amplify her talents to their full extent. In Loving, she is exquisite, vivid. We see her mature from a teenage bride to a wizened mother and wife, and the metamorphosis is so nonchalant we hardly notice Negga’s brilliance until we really think about how difficult the role is. As Mildred, Negga has to be sweet but headstrong, motherly but hardened. She is woman susceptible to the dangers of being a black woman married to a white man in the segregated South, and Negga has to portray these psychological contradictions without ever losing sight of three-dimensionality. What we’re given is one of the decade’s great, and most revealing, performances.
With its disposition so muted and thoughtful, Loving might feel underwhelming to viewers accustomed to the melodramatic highs of most biopics. But look closely and you’ll see that the film perhaps doesn’t much belong to the genre of which it is a part: this is a biographical romance so unhurried, so pensive, and so timely, it feels uncategorizable. A-