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Directed by Destin Daniel Cretton, Just Mercy recounts the early career of renowned lawyer and social justice activist, Bryan Stevenson (Michael B Jordan). We follow him to Alabama where he begins to defend those wrongly condemned to death, with the help of a local advocate Eva Hansley (Brie Larson). One of the first cases he encounters is that of Walter McMillian (Jamie Foxx), a man sentenced to death in 1987 for the murder of an 18-year-old girl, despite the fact that there was no hard evidence against him. The film unfolds as Stevenson begins to uncover the lies and deceit that lead to McMillian’s false accusation, encountering blatant, unwavering racism along the way.
Before seeing this film, I knew of Stevenson’s history and the work he has done both as an activist and lawyer, and so I didn’t expect to be overly shocked by any happenings within the film…boy was I wrong.
The film moves from Stevenson’s pursuit of justice on the outside to moments he spends with inmates on death row. Michael B Jordan manages to display a stunningly composed performance while also simultaneously channelling the raw emotion needed to convey some of the horrific scenes throughout the narrative. Stevenson is mainly portrayed on a surface level. We don’t delve deep into his past or learn much about him as an individual outside of his job, and I think this is an important element of the plot. Even though we are following one of his cases, this is not his story.
It is through the performances of Jamie Foxx and Rob Morgan that the film is elevated. Foxx gives his most astounding performance since his Oscar-winning role in Ray (Taylor Hackford, 2004). His portrayal of McMillian is heart-wrenching with his kind, quiet nature and vulnerability emphasised through his soft spoken words and subtle eye movements, which only allow the scenes of heightened raw emotion to become more powerful. His time spent on death row is what brings this film to a more poignant level, highlighted through the astounding performances of his supporting cast of Morgan and O’Shea Jackson Jr. For me, it was Rob Morgan’s portrayal of Herbert Richardson, a Vietnam Veteran also awaiting execution, who left the strongest impression. He never denies the crime he committed, but it is clear he has been severely affected mentally from his time at war, something that was overlooked in his conviction. His character creates a new level of intimacy between the inmates, shown by the empathetic interactions they have with one another. There is a strong sense of trust and dependance, and even when they are in their individual cells, the connection between the men can still be felt as they all protect and care for each other.
Joel P. West’s musical score balances emotional undertones alongside necessary breathing space, allowing certain moments and scenes to speak for themselves. He manages to create a blend of both warmth and sadness that elevates whatever is happening on-screen. This, alongside the simplistic yet beautiful cinematography, allows a certain stillness within the film, which provides a more personally realistic depiction of what it may have been like to witness a story such as this first-hand.
Before seeing it, I felt that Just Mercy had the danger of losing its emotional resonance, worried that there would be too much focus on solving the case, rather than displaying the struggles that lead to it being solved. But the film doesn’t shy away from displaying the cruelty and racism experienced by many, and doesn’t allow us to forget that this is still happening every day. This message, along with the combination of subtle sound design, visuals and astounding performances, creates a film with a story that needs to be heard, seen and recognised.
