LUCE: Lies, Identity & Plenty Of Thrills

The 18th-century poet Robert Burns once wrote ““O wad some Power the giftie gie us, to see oursels as ithers see us!” The point of his poem is to differentiate how we see ourselves and how great it would be to see ourselves as others see us. It’s a puzzling problem with no easy answer. Which side is the true us? Is our identity defined by how we see ourselves? Or do others’ perception of us define who we really are? Does the truth lie somewhere in the middle?

In Luce, adapted from a play by the same name by writer J.C. Lee , this is the situation Luce Edgar (Kelvin Harrison Jr.) finds himself in. We meet him as an academic all-star, the pride of his high school. He is captain of the track team and an upstanding young man the rest of the school can look to as a light. But there’s a darkness in his past. Luce was adopted from war-torn Eritrea. He was wielding a gun before he could drive a car.

Luckily, he was adopted by his American parents Amy and Peter (Naomi Watts and Tim Roth) – a well-to-do white couple. They helped him through years of therapy to get him where he is today. But when Luce turns in an assignment arguing that violence can solve political issues for the oppressed – despite the fact that the opinion fit the nature of the assignment – his teacher Harriet Wilson (Octavia Spencer) becomes alarmed and notifies his parents. From there, the divide between Ms. Wilson and Luce only grows, building into something much more serious and dangerous.

The tension grows from a simmer and boils over into an explosion in this domestic thriller. I limit my usage of “must-see” to a maximum of five films each year. Luce is an absolute must-see movie – it’s unlike anything else in a long time. It explores identity, race, gender in a such a small scale, but high-stakes manner. The score sets the tone throughout and the entire cast shines through the unease and tension that permeates the film.

Race, Privilege, Gender And A Question Of Identity

The central question of Luce appears at first to be is Luce out to get Ms. Wilson or does she have some sort of vendetta against him? And while that’s the conflict that fuels the story, the real question director Julius Onah poses to us is what and who decides our identity? Luce comes from a background plagued with horrors and violence. But Amy and Peter have helped him move on to become what they and Ms. Wilson originally thinks is a beacon for other young black students in the school to look at as the model of success.

Naturally, that breeds a level of contempt among his friends and peers, who aren’t so fortunate to have the same perception. Luce takes on another role with them to shed his more positive identity. He takes on a more juvenile one to fit in and stay close with them. He refuses to conform to the expectations of his family and mentors as well or the expectations of his friends. So what exactly is he?

As the conflict with Ms. Wilson develops, the question becomes more serious. Is Luce a nice young man and model student athlete? Or is he something more sinister? The type of kid to be involved in a possible sexual assault, vandalizing a home and something even more criminal? Of course, Luce being a young black man and his privilege living with rich white parents plays a role in how the school and the audience perceive him. Ms. Wilson isn’t exempt from the questions either.

When Amy and Peter first meet her, they talk about her in the car ride home. There’s a discussion about how she seems strict and Luce and Peter settle on the word “bitch.” While there’s a nod to the gender aspect of the word, it’s still agreed upon by the family. As we learn more about her, it’s fair to ask if she’s overstepping her bounds and projecting on her students or if she’s a well-intentioned guide for young adults? Do her intentions justify her means? Does that make her a villain or a hero? While the film resolves some of the most glaring questions, it leaves the question of identity up to the audience and gives no easy answers.

Dazzling Lead Performances

The technical aspects of Luce are all very good. The camerawork feels cold and stoic, adding to the sense of suspense bubbling throughout. The stellar score alternates between big booming hits that feel disorienting when Luce is showing his darker side and more classic, light moments. But where Luce really shines is the performances.

Kelvin Harrison Jr. shows a depth and range that should earn him some high profile roles. He makes the central character so dynamic. He’s so charming and charismatic that he can win over his high school principal or an audience full of parents. At the same time, he can be dark, mysterious and unsettling he can be legitimately suspected of some pretty awful things. You never see him acting too hard – every moment and nuance feels natural.

Have yourself a year Octavia Spencer. Ma is the gift that keeps on giving gifs and now her role as Ms. Wilson is a great addition to her credits. She plays a complex character – stern, but well-intentioned. She cares for her sister who has mental health issues, but still searches her student’s lockers. Spencer toes the line of caring, but maintaining certain expectations with precision to bring her character to life. It’s definitely her most challenging and different role, compared to some safer ones she’s played before.

Luce: Run, Don’t Walk To See It

Luce feels like a rarity. A thriller that succeeds with a relatively small scale. With brilliant performances, it poses questions to its characters and audience that make both feel uncomfortable and question our identities. Sure, it would be great to see ourselves how others see us, especially in Luce’s case. But the reality he has to face is deciding who he is for himself, both good and bad. With tension that builds until it cannot be contained any longer, Luce is a can’t-miss film for 2019 and is sure to keep you guessing and on the edge of your seat.

Have you seen Luce? What did you think? Sound off in the comments below.

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