User Reviews

“Rustin” is a very uninspired film that tends to present clichés as discourse but succeeds better at detailing events leading up to the march rather than showcasing its hero as a whole person. Domingo, who collaborated with George C. Wolfe in 2020’s “Ma Rainey’s Black Bottom,” is good as Rustin. He doesn't resemble Bayard Rustin physically the same way a character actor like Wood Harris does, but he does capture some of his essence and spirit. He's charismatic, gritty when he needs to be, and wildly intelligent. Co-writers Dustin Lance Black and Julian Breece provide a soft script, and Domingo executes its humor flawlessly, but unfortunately, the passing comedic lines far outshine those elements that are meant to leave an emotional impact. The opening of "Rustin" quotes the unconstitutionality of segregation and then slides through a slow-motion montage of instantly identifiable chapters in the movement: Ruby Bridges, guarded from the front and back, walking to school in 1960 as the first Black student to be integrated in Louisiana; Elizabeth Eckford being berated on her way to class in 1957, surrounded by hateful schoolmates; and Anne Moody, stoic during her 1963 sit-in at a diner as food is being thrown on her in protest from the white people inside. It’s a somewhat melodramatic montage included only as evidence that racism existed outside of legislation. And though these historic moments are essential, their cliched inclusion is just as surface-level as the entirety of Wolfe’s film. Rustin’s friendship with Martin Luther King Jr. (Aml Ameen) is a central part of the story, as is his intermittent romantic relationship with a younger activist, Tom (Gus Halper). Both men have excellent chemistry with Domingo, holding their own while also functioning to give the movie a nuanced lead. His budding romance with Elias Taylor (Johnny Ramey), a fictionalized married pastor on the NAACP board, is another key relationship in the problematic emotional construction of Rustin. Rustin isn’t treated solely as an activist, considered only for the lines on his resume, but as a man with touchy friendships, hurt feelings, and charm to a fault. However, it also often teeters into melodrama, jumping from one item on the script’s outline to the next. As "Rustin" relays the difficulties of unifying 100,000 Black people to arrive at the Lincoln Memorial for the largest nonviolent protest in the movement’s history, we get a peripheral look at the figures and factors at play. From the NAACP’s initial shutdown of the idea (with Chris Rock playing Roy Wilkins, the Executive Secretary in an interesting dramatic turn for him) to the immoveable faith and support A. Philip Randolph (Glynn Turman) had in Rustin, Wolfe's film is the document of a fight but like many of his other films it's very limited by the scale and scope and the idea of the story. “Rustin” was undoubtedly made in admiration of its subject. Yet, with a very stale approach to its plotline and confused narrative priorities, the film is more like an educational outline than a spirited story. While care was taken to give nuance to Rustin himself, the context is left neglected and looses any passion for the great man this person truly was.

An anatomical look at the March On Washington on August 28, 1963. Martin Luther King Jr. was the face, but the details were never taught in school. Bayard Rustin had a dream, to see 100,000 people descend on the National Mall to demonstrate peaceful protest for jobs and freedom. This film is about the conception, care, and birth of that dream. His vision was brought to life, but for his homosexual lifestyle, he was nearly cast out of the entire movement. CONTINUE READING ON LETTERBOXD: ****/5ZKymL

This may be the best film I have seen thus far in the past 12 months. It depicts the life of Bayard Rustin, who was pivotal to the civil rights movement at the time of the March on Washington, all the while wrestling with personal setbacks. Colman Domingo should win the academy award for his portrayal of Rustin - a dynamic leader who inspired everyone in his orbit.

'Rustin' is an ordinary biopic that fails to make an effective balance between the intimacy of the protagonist (a gay black man labeled as a communist and agitator by the U.S. government) and the grand scale of his life project: organizing the 1963 peaceful march on Washington D.C. to end racial segregation. Although Colman Domingo truly disappears in his role, nothing in the film is worth mentioning: the other characters are flat, the digital effects in the Washington Monument scenes are poor, and the march sequence is as unexciting as it is brief. Unlike 'Ma Rainey's Black Bottom,' director George C. Wolfe's previous work, this one feels too pristine, superficial, and vague.

Las actuaciones son lo que más sobresalen en este drama real, que marcó un antes y después en materia de derechos civiles de los Estados Unidos. Desde luego que, el nivel de acción puede no satisfacer a todos.

A great performance by Colman Domingo provides this project with enough weight to get by, and that is because beyond the recognition it provides for the figure of Bayard Rustin, this is an extremely conventional film.

Rustin foi um ativista adro-americano e gay, mas independentemente de qualquer orientação sexual ou cor de pele, ficaria difícil sobressair-se quando tínhamos figuras como Martin Luther King, seu contemporâneo, agindo a favor da busca por direitos civis nos EUA. Assim, o filme a todo o instante tenta criar uma tensão entre o protagonista, muito bem vivido por Colman Domingo, e o líder Sr, King, sendo que o filme funciona muito mais quando os discursos se complementam, ainda que entrem em conflito.Tanto que a opção ideológica de Rustin pela "não-violência", dada a ótima construção do personagem, soa até natural, mas o fio da meada se perde quando tenta fazer disso um pilar revolucionário ou distintivo do biográfico em contraponto aos elementos de embate na trama, o que sinceramente põe em cheque a própria veracidade dos fatos. Assim, o filme ganha contornos de decidir sobre os meios polpiticos mais adequados de se fazer a famosa marcha de Washington em 1963, lembrando filmes como "A voz da igualdade". Mas, claro, George C. Wolfe está longe de ser um Gus Van Sant, demodo que subtramas como o romance proibido, por mais que tenha lá seu charme, soaram mesmo pra fazer passar as horas até o derradeiro clímax, que diga-se de passagem, ficou devendo. Ainda assim, é interessante ver a composição do clima da época,e o filme consegue trazer elementos interessantes, como a polícia local e a relação com a igreja, com uma visão bem multifacetada, não caindo em maniqueísmo, o que é um baita ponto positivo. Assim, sem fazer uso de vilões caricatos e lapidando um texto acima da mádia, Colman Domingos brilha num terreno muito bem preparado, com um roteiro que é eficiente e uma produção que garante a estatura da obra. Ótimo filme para se ambientar naqueles turbulentos anos de 1960, com direito a várias menções importantes, seja de presidentes ou do famoso diretor do FBI à época, Edgar Hoove, e outras tantas personalidades, mas que em nenhum momento sufoca o protagonista, que brilha com luz própria e pela ótima e bem vinda caracterização.

Unsung heroes often don’t get their day. Fortunately, however, for civil rights activist Bayard Rustin (Colman Domingo), principal organizer of the 1963 March on Washington, he’s finally getting his due in this new biopic about the many challenges he faced in bringing this event into being. The flamboyant, outspoken, Black gay organizer faced much opposition to his proposal, including, surprisingly enough, from an African-American community that was apprehensive about the message his appointment and presence would send to a still-reluctant public in its support for equal rights measures, including such noteworthy figures as NAACP leader Roy Wilkins (Chris Rock) and Congressman Adam Clayton Powell Jr. (Jeffrey Wright). Things were even tense at times between Rustin and his longtime friend, Dr. Martin Luther King Jr. (Aml Ameen), for whom Rustin once served as his chief aide and advisor. Then there was Rustin’s sexual orientation, a matter he didn’t exactly hide, especially in his less-than-discreet relationship with married preacher Elias Taylor (Johnny Ramey), something other activists feared could undo all the progress they had made up to that time. But, as a determined champion, Rustin forged ahead, despite these hardships, culminating in the largest peaceful protest ever staged in the nation’s capital. To the film’s credit, director George C. Wolfe has compiled an informative period piece biography, even if the approach is somewhat conventional and, admittedly, gets off to a rather rocky start in the first half hour. However, that’s made up for by a strong second half and the picture’s powerhouse cast, including Domingo (a strong Oscar nominee contender), Wright and Ameen, as well as Glynn Turman and CCH Pounder in fine supporting performances. While this offering may not be everything it could have been, “Rustin” nevertheless reminds us of what so many people fought so hard to achieve – and why it’s so important that we strive to protect those accomplishments against backsliding and those who might seek to undermine the fulfillment of those much-cherished attainments.

Bayard Rustin was an unapologetically gay Black man who was also a brilliant social activist and organizer. His friendship with Martin Luther King led to his creation of the historic March on Washington in 1963. Colman Domingo embodies the character layered with the undeniable charisma and meaningful depth that deserves award consideration. Director George C. Wolfe has surrounded him with an exceptional cast and filled every scene with compelling moments. This historical event was not without challenges and writers Julian Breece & Dustin Lance Black have told this story richly handling each setback and success. This is an important and fascinating story about a flamboyant man who was an important figure in the fight for equality.