Simmons, Georgia, who knew the Browns and is proud to say he’s from the same town as a future Hall-of-Famer. Beau Bridges has an unforgettable cameo as Carlton, a resident of Brown’s hometown, St. Powers uses Brown to highlight how little Black humanity matters, regardless of one’s celebrity. At the time, Brown was breaking records as a Cleveland Brown, tearing up the field, and earning the admiration of fans everywhere. In one of the few times the film leaves its present, Cooke is seen saving a disastrous concert appearance by having the audience amplify the power of his a capella performance by stomping along to his hit, “Chain Gang.” Odom’s musical performance practically shakes the screen not for nothing does he end the film with Cooke’s classic Civil Rights anthem, “A Change Is Gonna Come.”Īs Jim Brown, Hodge exudes an athletic prowess and the powerful presence Richard Pryor used to marvel at in his comedy routines. Cooke doesn’t see how his voice can be as powerful a weapon for his people as Malcolm’s speeches, and he’s a bit resentful that his own successful music business ventures aren’t seen as a means to help the community. He’s also in the room with a civil rights powerhouse facing his own changes via a crisis of his own faith in a spiritual leader. He’s the biggest star at this moment, bearing witness to the ascension and conversion of one sports figure and the retirement of another. Odom, a Tony winner for “ Hamilton,” is pure joy singing Cooke’s songs, leaning into the performances even when he’s just casually singing to himself.
Yet, each actor excels in his part, masterfully handling their individual moments as well as their ensemble scenes.
One can’t envy the intimidating undertaking this cast is tasked with in this film.
And if Malcolm X weren’t already electrifying in his speeches and his autobiography, Denzel Washington immortalized him in Spike Lee’s 1992 masterpiece. Sam Cooke was one of the biggest singers of his era, doing concerts and appearances you can easily find on YouTube. Ali played himself in “ The Greatest,” and Will Smith got an Oscar nomination as Ali as well.
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Brown and Ali were larger than life as sports figures on the TV and as characters on the big screen. The accomplishments of King and her actors are even more impressive when you stop to think about the shadows these men cast, both in their real-life incarnations and their cinematic representations. This is a very good film, full of memorable performances and thought-provoking speeches and arguments. Absent the prying eyes of “polite company,” these men strip their masks and dive headfirst into the invigorating and deep pool of “keeping it a hundred.” I’ve quoted Ossie Davis’ “Purlie Victorious” line before, but it’s appropriate here too: “Being Black can be a lot of fun when ain’t nobody lookin’.” These men know it, and “One Night In Miami” shows it to us. The result is a riveting drama that at times evokes Spike Lee and Reggie Bythewood’s “Get On The Bus.” Both films allow us to sit with Black men and listen to them engage one another with the honesty and freedom they can only fully enjoy without the presence of White America. He imagines what they said to each other during their real-life meeting, and the writing finds an emotional accuracy within its dramatic license.
Adapting his play, screenwriter Kemp Powers peppers his scenario with historical facts and truths about each of his characters.