THE HURRICANE: A powerful case of injustice lacking punch (2000 in Film #1)

This year, 20 years on from the year 2000, I’m going to celebrate the first year of cinema in the 21st century by looking back at some of the films across the year at the turn of the millennium which took No #1 at the box office for their opening weekends.

To begin, released over New Year 1999-2000, Norman Jewison’s The Hurricane

There is perhaps a little bit of cheating going on by including The Hurricane in a collection of 2000 movies, given it was released on December 29th, 1999. It is more of a bridge, notable as the major cinematic offering over Millennium Eve; a film that sits between cinema’s first and second centuries.

1999 was last year celebrated across film culture as among the greatest years in cinema history, with a whole range of retrospectives from articles to books to podcasts devoted to its fusion of high-concept event movies, powerful franchise films, and the big-budget legitimising of the Sundance indie-darling filmmakers who would build their careers on some of that year’s defining works. The Wachowski Sisters with The Matrix, David Fincher’s gut-punch adaptation of Fight Club, Sam Mendes’ now tainted American Beauty and Paul Thomas Anderson’s sprawling Magnolia lined up against George Lucas reviving the Star Wars franchise with The Phantom Menace, Pixar’s animated marvel Toy Story 2 and the blockbuster romance of Richard Curtis’ Notting Hill.

It was, looking back, a remarkable year to close out cinema’s formative century. The year 2000 was always going to struggle in its shadow and, truthfully, struggle it does. This is a year in which Mission Impossible 2 is the most profitable box office hit. A year not without its triumphs, among them Ridley Scott’s Gladiator or Steven Soderbergh’s Traffic, but beyond them little that truly remains iconic at a distance in the manner we look back at 1999 and see around the corner The Sixth Sense or The Blair Witch Project or so on and so on. And if any film marks this transition, manages to serve as a pointer to how 2000 will struggle to carve out the same kind of historical legacy as the year before it, that film is surely Norman Jewison’s The Hurricane.

As, while by no means a poor piece of cinema, beyond the most ardent supporters of Denzel Washington, it struggles to truly define itself in any meaningful way.

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