Movie Review: The Blind Side

The Blind Side opens up showcasing the night Lawrence Taylor crippled Joe Theismann's knee and ended his football career. As told by the vocal stylings of Sandra Bullock, the film presses the argument of an NFL team's need to protect the quarterback from his blind side. For those who are unfamiliar, the blind side is the area outside the quarterback's vision. It renders him susceptible to an oncoming pass rush and oftentimes results in vicious hits and annihilating sacks. How does a team protect the quarterback's blind side? By drafting and/or trading for thunderous herds of 300-pound elephants to anchor their offensive line. While Taylor's hit on Theismann sets the tone for the rest of the movie, it also serves as a metaphor for the unpredictable events that can occur in our lives. I know that's some very heavy stuff to deal with considering how broad the metaphor is. In order to narrow it down a bit, director John Lee Hancock has decided to focus on the life of Baltimore Ravens offensive tackle Michael Oher.

The Blind Side argues that Oher's life is the definition of unpredictability. Born and raised in the slums and urban ghettoes of Memphis, Tennessee, Oher received little education and constructive criticism as a child. For the better part of his life, he was a drifter among the masses. He would come and go as he pleased and render in the unparalleled emptiness of his hopeless existence. There was no love in Michael Oher's life, no trace of compassion, no hint of a future. That is until he ran into Leigh Anne Tuohy while walking a dark street corner on his way to the school gym. Tuohy saved Oher from his wretchedness and despair, offering him shelter from the darkness of his life. Oher would play football at Briarcrest Christian School, emerging as one of the best offensive tackles in the nation. He would eventually play under Phillip Fullmer for the Tennessee Volunteers and will start at offensive tackle when the Baltimore Ravens visit the Indianapolis Colts on Saturday. The point is that Oher was given a chance to show the unlimited potential of what he could accomplish. The encouragement and love he received from the Tuohy family makes for a striking endeavor of cinematic grace. But even though The Blind Side attempts to compel audiences to fall for its inspirational story of hope and triumph, it ultimately fails to move beyond its predictable Hallmark conclusion, relying on the compelling performances of Bullock and Quinton Aaron to steer its way home.

Bullock's performance as Leigh Anne Tuohy is flashy and bombastic in that it represents an antithesis of personalities. Her character is very different from the character of Michael Oher, who is the ultimate personification of a gentle giant. Tuohy is the prima donna ballerina for the Memphis ballet, which is to say she is the commanding leader of her family and the aging, opulent debutantes of upper-class society. Her confidence is exerted through her repetition of one simple phrase, "Alright then." These two words highlight the dominance of her personality, illustrating her determination and desire to fulfill whatever goals she sets out for herself. What Bullock offers to the role of Tuohy is a quiet charm and poise that remains understated throughout the course of the film. There is an elegance to her character that serves her motivation and ignites her passion. We see this in her interactions with Michael Oher and how she plays the motherly figure in his life, how simple facial expressions can say a thousand words about what she's thinking regarding his future. However, Bullock doesn't underplay the character so much as she overplays the character. And in the end, Hancock has chosen to go for style over substance. Those quiet moments of solitude and contemplation, which illustrate the complexity of the Tuohy character, are subjugated by moments of confrontation and vocal expression. Scenes where Bullock marches on the field during football practice or threatens a hoodlum living in the projects are meant to incite a positive reaction to the character. And because these scenes dominate the film, the audience sees more of an extroverted Leigh Anne Tuohy as opposed to an introspective Leigh Anne Tuohy. In a sense, Hancock has deprived the audience a chance to see the full range of Bullock's performance, one that would have provided a unique balance between the lighter elements of the Tuohy character and the darker elements hidden underneath her fiery Southern accent and beautiful smile.

Quinton Aaron's performance as Michael Oher is sensitive and touching. He is able to exhibit a wide range of emotions that ultimately illustrate the complexity of his character. Simple hand movements across his legs are meant to highlight tense situations. It is in these moments where we are able to understand Oher's pain and inner conflict. Unlike Bullock, Aaron doesn't overplay the part of Michael Oher. Rather, he chooses to dissolve himself into the role, providing one of the few performances that goes for substance rather than style. There are many scenes in the film that could be considered melodramatic, particularly when Tuohy first invites Oher to her house or when Oher reunites with his brother in a restaurant. But there are also many scenes that avoid such a fate because of the delicate enthusiasm that Aaron brings to the screen. The scene where Oher is involved in a car accident is made more powerful by Aaron constantly rubbing his hands on his face. It is a supremely external moment that heightens the drama at work and refuses to be overbearing. It is moments like these where The Blind Side shows the potential to become something more than a Hallmark Movie of the Week. Yet because of Hancock's inability to consistently focus on these moments with the camera, the film suffers immensely and ultimately sinks into the realm of bathetic schmaltz.

Hancock's directorial choices in this film compromise the validity of its serious emotional drama. Instead of focusing on those moments of great trepidation with Tuohy and Oher, Hancock presents us with a series of comedic montages featuring Nick Saban, Lou Holtz, Tommy Tuberville, and all the SEC coaches who recruited Oher out of high school. There are also montages when Oher is playing football with Briarcrest and when he is training with S.J., the adorable little son of Leigh Anne Tuohy. Hancock avoids the immense detail of the emotionally affecting scenes in favor of showcasing how cute S.J. looks when working with Oher or how attractive Leigh Anne finds Coach Saban. And while that indeed does add a touch of comedic prowess to the film, it ultimately renders The Blind Side hopeless for any serious consideration into the dramatic soiree. This film is drawing the crowds for its inspirational true story. Yet the truth is that most of those crowds are in it for the football rather than a tug at the heartstrings. In the end, The Blind Side may have the box-office clout to merit some awards consideration. Yet it is blindsided by the sheer brute force of monotony and cornball sentimentalism the likes of which not even Michael Oher could stop at the line of scrimmage.

Lenny's Grade: C+