Movie Previews

The Express tells the true story of college-football star Ernie Davis. It's such a naturally compelling tale that one wonders why it hasn't been filmed before.

Davis battled racism to become the first Black player to win the Heisman Trophy. He was drafted into the pros but died of leukemia in 1963 before he could play. He was 23.

Obviously, it's a meaty story, and director Gary Fleder (Don't Say a Word) and writer Charles Leavitt get the job done in capable fashion. But with such good source material, it would be hard to screw it up.

Davis (played by Justin Martin as a youngster and then Rob Brown) grows up in Pennsylvania before moving to upstate New York with his mother. His athletic skills are obvious early, and he stars on the high-school team before being recruited to play for Syracuse University.

With hard-driving coach Ben Schwartzwalder (Dennis Quaid) guiding him, Davis becomes a star. It isn't an easy time for Black players; during a harrowing sequence at the Cotton Bowl in Dallas, spectators shower bottles and trash on his head when Davis steps on the field.

The movie smartly avoids turning the characters into archetypes. Schwartzwalder, in particular, is portrayed not as some civil-rights pioneer but as a man who simply wanted to win football games. Quaid's unsentimental performance keeps the character grounded in realism; it's quite easy to not like the coach.

Brown (Finding Forrester) also does a fine job, imbuing Davis with humor and resolve. As true stories sometimes tend to do, Davis may come off as too saintly at times, but Brown is always believable.

Fleder does interesting things with the look of the film. Davis' childhood is shot in almost gray tones; the Cotton Bowl sequence features a bleached-out look that adds to the coldness and intensity of the scene.

The movie is told in straightforward fashion except for an extended flashback sequence in the middle. It's an odd choice and throws the film momentarily off course, but the harm isn't irreparable.

The film's final moments don't go for the big Brian's Song waterworks; instead it's reserved and understated, in keeping with the movie's overall tone. It is a wise move, as it keeps The Express from feeling like a retread. The end result is a football film that will appeal to people who can't tell a halfback from a cornerback.

Reach the reporter at randy.cordova@arizonarepublic.com or 602-444-8849.