Though it may lack some of the technical artistry present in the most transcendent biopics, Harriet truly triumphantly thrives thanks to the terrifically tense tale it tells and the talents of the commanding and compelling Cynthia Erivo.

Harriet has faced quite a thrashing recently by some critics who compare its quality to that of a “TV movie,” somehow suggesting that the film’s merely average visual sense drags down the feature as a whole. Now, while it is true that Kasi Lemmons’ direction and John Toll’s cinematography don’t push the boundaries of the medium by any means and leave a bit to be desired (though Toll captures some glorious naturalistic wide shots during Harriet/Minty’s first escape), they are never enough to dull the drama inherent in this story in any capacity. Lemmons proves herself to be quite the stellar screenwriter, delivering a script (with an assist from Gregory Allen Howard) that stunningly serves as a singularly spellbinding story of Harriet Tubman’s evolution while also tenaciously touching on themes of identity and persecution throughout the time period as a whole. Lemmons and Howard’s script cleverly consolidates a plethora of storylines and relationships into a palatable and potently powerful narrative that more than makes up for any qualms individuals may have with so-called “showmanship shortcomings” due to its sheer stimulating significance. Simply put, with a powerhouse plot this poignant, you don’t really mind a lack of technical trickery.

With a prized and prominent protagonist such as Harriet Tubman, a movie like Harriet lives and dies by the individual who inhabits the title role. Fortunately, Cynthia Erivo proves to be an absolutely excellent and empowering lead, channeling the stupendous spirit of the legendary abolitionist and giving a wholehearted and winning performance that comes into its own while paying significant homage to the wonderful woman herself. Erivo drips sweat, blood, and tears to fully embody the desperate and devoted personality of Harriet Tubman, and she blows through bravura monologues with brute force. These monumental moments may have seemed like mere “Oscar bait” in lesser hands, but Erivo infuses them with legitimacy and resonance that allows them to topple their “typical” trappings. Erivo is effortlessly endearing and satisfyingly sympathetic throughout all of her quests, and though she stays true to the sterling soul of the real-life individual she portrays, she still manages to demystify Tubman and humanize her amongst all the heroism.

Erivo is assisted by an outstanding ensemble full of performers both new and established, young and old, in parts big and small, all selling this story with the seriousness it demands while also padding out their parts with individual idiosyncrasies that give the film some much needed bursts of levity and winking wit as well. Leslie Odom is a great foil for Harriet as William Still, a wealthy writer and African-American abolitionist who connects her with the Underground Railroad and initially doubts her strength before being proved wrong time and time again (a montage concerning her continual impressive hauls of freed slaves delivered to Still serves as a high-spirited standout), while Janelle Monáe continues to make a case for her movie stardom in a comionate and caring role as Marie Buchanon, a lifelong free black woman who becomes Harriet’s closest confidante in life after the plantation. In of the “savage slave owners” in cinema as of late, Joe Alwyn isn’t given quite as much memorable material as either Leonardo DiCaprio in Django Unchained or Michael Fassbender in 12 Years a Slave, but he still proves to be a vicious and vindictive villain in his own right, and several scenes involving his pursuit of Harriet give the film an almost unbearable sense of suspense.

Harriet is no doubt destined to be a standout in school classrooms across the nation in years to come, but at this current moment, it should be held up as an exceptional example of a biopic done right that cuts to the core of its larger-than-life lead and works as firmly fierce and fiery filmmaking as well. With a sterling script courtesy of Kasi Lemmons and Gregory Allen Howard and Cynthia Erivo’s powerful performance as the titular historical titan, this is an audacious awards contender that’s truly got the goods.

2019 Ranked