As a true courtroom drama and somewhat of an origin story, Marshall is a harmonious amalgam of diverse talent that manages to achieve a necessary balance between biography, social commentary, and entertainment. First-time writer, Connecticut-based lawyer Michael Koskoff provides veteran director Reggie Hudlin and the diverse and outstanding cast with a poignant, yet fun story to portray. Overall, Marshall is a thoughtful film that induces as much cultural and theological reflection as it does laughs.
This is Boseman’s fourth biographical performance. His most recent portrayals include “Jackie Robinson” in 42 (2013) and “James Brown” in Get On Up (2014). In Marshall, Boseman takes on the role of Thurgood Marshall, who was the first African American judge on the Supreme Court, though this film features him early in his career. Boseman and supporting co-star Josh Gad make an incredibly entertaining duo. They have great comedic timing and dramatic interactions. While Boseman delivers most of the wit, Gad’s physical comedy and facial expressions make his character incredibly likable.
The film is a snapshot from the early years of Marshall’s life as a lawyer with the NAACP. In 1941, Thurgood Marshall takes a case in Bridgeport, Connecticut. Chauffeur Joseph Spell (Emmy winner Sterling K. Brown) is accused of raping his employer’s wife, Mrs. Strubings (Kate Hudson). For this case, Marshall secures the help of local lawyer Sam Friedman (Josh Gad).
There is balance to this film on multiple fronts. The drama and tension of the courtroom and the cultural atmosphere are released through Marshall’s timely comedic wit. The film also carries a triumphant but sober tone. Although we know Thurgood Marshall goes on to have great victories, placing this film early in his career gives us insight into the obstacles he faced as he worked for justice.
On that note, there is no doubt that this film comes at a most opportune time. In speaking to our current context, Marshall pulls the curtain open on an unsettling chapter of our history, presses us to think about the tension of the present, and invites us into a continued solidarity and advocacy that these characters embody. The importance of a solidarity that is capable of fostering systemic and cultural change is particularly portrayed in the development of the character of Sam Friedman (Josh Gad). He is, at first, reluctant about joining Marshall in this case. He worries for his reputation, his business, and his safety. But Marshall urges him to take a stand and use his position for a cause.
In light of the current social unrest, this film has challenged me. I have come to find that I have been hesitant to leave the comfort and safety afforded by whatever privilege I have, much like Sam. The work of social justice requires us to engage with, walk alongside, and advocate for those who need justice. In John 4 Jesus deliberately breaks many social-cultural norms as he encounters and engages a Samaritan woman who is marginalized by her people. As a result, he frees this Samaritan people from the same norms reconciling them to the woman and to himself.
In the film we see a glimpse of this norm-breaking reconciliation as Marshall tells Friedman, “You are one of us now, Sam.” As image and message bearers of a society reconciling Christ, may we engage with others and be one with those who seek justice. Just as we can see and be proud of how far we have come, we need to acknowledge that there is much work for us to do. Inescapably, we must ask: What can I do to advocate for those who seek justice in my context?
