While it’s a moment worth noting in the film, (I can even see using the clip of that lunch-table confrontation to foster discussion in a class or workshop), the moment is a lost opportunity for anything more multifaceted, or artful even, about transracial adoption, about race, or about the journey away from individual racism.
All of which is too bad, because that’s a film I’d really like to see.
In fact, the outsized, introverted teen never has even played the game before when crosses paths with Bullock's Tuohy one wet winter night as she and her family pass her son's schoolmate on the street, braving the elements in just a T-shirt and shorts.
They take him in for the night and ultimately adopt the gentle giant, raising the meticulously plucked eyebrows of Tuohy's affluent, decidedly nondiverse circle of friends, while grooming Oher to become an indispensable left tackle.
She stops them cold and says to them, “Shame on you.” It’s a remarkable filmic moment in many ways.
First, it clearly depicts whites – in this case, white women – engaging in the kind of back stage behavior we’ve talked about so often here on the blog.
His mother, a drug addict, drifts between Nashville streets and ramshackle low income housing projects.
"Last I checked," he argues, "our sign had the word 'Christian' on it.
is not the film you might expect judging solely from the previews and marketing.
Bearing the burden of being potentially schmaltzy, the film instead threads an almost impossible needle, pulling off a surprisingly moving and inspirational story of compassion, self-discovery and hope.