Review: “O. J.: Made in America”

Very likely my favorite film of 2016, O. J.: Made in America is the rare kind of film that manages to add a little of everything to the mix. What is this film, an Academy Award nominee for Best Picture, really about? Race? Class? Gender and masculinity? The murder of a young woman and a young man? The fall from grace of an American icon? If you ask anyone who has sat through the almost eight-hour long epic (which took me a week to complete), and they will rightly tell you that the film delicately balances all those things, and more.

One of the greatest things about this film is how well director Ezra Edelman treats his audience by assuming that they know nothing about O. J. Simpson. You’d be hard pressed to find someone in 2017 who doesn’t know at least something about O. J. Simpson–I was only four months old at the time of his acquittal for murder, yet I feel as though I know the case better than some people who can remember it. Still, Edelman treats the film as though he is revealing the man of O. J. Simpson for the first time, a wondrous achievement. Beginning with Simpson as a young man, the film chronicles his early successes playing high school, college, and professional football, and his quick ascension to celebrity status, all with the backdrop of race, which Simpson was also an expert in. Edelman shows that, because of his maneuvering between the white and black races, Simpson was able to take hold of the white American psyche in a way that few, if any, African-American figures had done before, all the while still being adored by the African-American community as well. By adding in the complex topic of race early on in the film, the audience is given a clear indication that this will come into play later in the documentary, which it does in full force, especially during the parts of the film which depict the murder trial of Nicole Brown Simpson and Ronald Goldman.

The film is far too long, and far too far-reaching, for me to accurately sum it up in a single blog post, let alone a full-length essay, yet the whole film really comes down to the man it depicts–Orenthal James Simpson. A deeply enigmatic, deeply flawed, and deeply troubled icon of American pop culture, Made in America makes a valid attempt to understand the man himself, and it very richly succeeds. Simpson is a man dominated by the desire–the need, the addiction–to be liked, and to be famous. This is eerily present in the documentary which makes great usage of Simpson’s past interviews and archive footage. A charming guy with a great smile, a strong voice, and a passionate way about him, Simpson nevertheless emerges as a tragic individual. When someone is so dominated by the impulse to be loved by everyone, they will inevitably step on a few toes to get to the top of that proverbial mountain. Currently imprisoned since 2008 for a Las Vegas armed robbery, Simpson is carefully painted in both negative and positive lights for the film. While Edelman seems to make the conclusion that, yes, despite what the twelve jurors decided in 1995, Simpson is a murderer, there is a tragic way about how Simpson is presented in the documentary’s present tense. Simpson flew too close to the sun and got burned–if you ask Marcia Clark and Fred Goldman, as Edelman did, they’d say that karma came back and bit O. J. Simpson.

As a culture we are obsessed with fame and this film makes that abundantly clear. Allegedly, on the night of Simpson’s armed robbery in a Vegas casino, his god-daughter Kim Kardashian announced her new television series Keeping Up with the Kardashians, which, again allegedly, Simpson said would last no longer than two weeks. When the Kardashian patriarch, Robert, was such an influential figure in Simpson’s murder trial, did you really not expect one of his daughters to appear in a documentary about Simpson? We as Americans are so pre-occupied with fame that we, at times, forget to live our own lives, and we forget that fame is a tangible thing. I myself am a victim, as I’ve spent the vast majority of the past week researching, listening to, and watching any thing I could about a crime that happened before I was even born, all because a celebrity was at the center of it. But hey, whenever something as groundbreaking and astonishing as O. J.: Made in America is on, can you blame me?

For more information about, and another review extolling, O. J.: Made in America, read this New York Times piece by resident critic A. O. Scott. 


4 thoughts on “Review: “O. J.: Made in America””

    1. I haven’t shared my writing yet on movie review sites, mostly because I just started blogging about film a few weeks ago. It’s something I’m interested in, though! Thanks for reading and for the kind words, I appreciate it!

      Liked by 1 person

  1. […] Certainly some films in the historical canon of greatest/most important films of all time appear on the list: The Birth of a Nation (1915), The Kid (1921), Nanook of the North (1922), Modern Times (1936), The Grapes of Wrath, Rebecca, The Philadelphia Story (all 1940), Citizen Kane (1941) and the first two Toy Story films (1995, 1999) all appear along with many other examples of classic films. Still, many other films with a 100% rating are more obscure and appear on the list thanks to positive reviews from just a handful of reviews–a 1993 Queer/exploitation film titled Totally Fucked Up holds a 100% thanks to six reviews. The amount of “perfect” films hasn’t decreased in recent years, yet it has most often occurred for documentary films including Netflix’s The Square (2013), Glen Campbell: I’ll Be Me (2014), and 2016’s O.J.: Made in America (for my review of that film, see here.) […]


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s