In Caroline County Virginia in 1958, an oridinary white man (Joel Edgerton) shows an ordinary black woman (Ruth Negga) the plot of farmland upon which he wishes to build them a house and then asks for her hand in marriage. It all seems so sweet and pedestrian and normal. He drag races cars when not building houses while she preps family meals and squeals with her sister over her coming nuptials. But it was anything but normal…in fact, their relationship was against the law in their own home state where both their families had lived and died alongside each other for years. After stealing away to Washington D. C. to get married, the couple are arrested in their bedroom upon returning to their peaceful Virginia homestead where the state refuses to leave them in peace.
Writer/director Jeff Nichols, who has become the premier chronicler of the American South for his cinematic generation, crafts a script that highlights the quiet, simple dignity of Richard and Mildred Loving while showing the casually insidious everyday acceptance of institutionalized racism. “You should’ve known better,” the law tells Richard. There’s no physical violence against the couple, but a threat of being torn apart emotionally hangs over them like a pall. Yet there are no histrionics over the Lovings’ predicament, no highfalutin ideals to which they subscribe, only a sense of what is decent and true. They love each other. It’s that simple. And they deserve to build a home and family just as much as anyone else. Both Edgerton and Negga transmit the feelings left unsaid through the nuances of their body language and facial expressions…both of them delivering master classes in subtlety and repressed emotions that come pouring out of their eyes. Always dignified…never wanting the spotlight. Continue reading