Concussion

Concussion, the true story about one doctor’s discovery of CTE (chronic traumatic encephalopothy) among athletes in the NFL, is a film to be admired, if not loved. With performances from Will Smith as Dr. Bennet Omalu, and Gugu Mbatha-Raw as his wife Prema, the gripping narrative explores one man's fight to be understood and respected. Whilst at times the depiction of the public and corporate backlash Dr. Omalu endured is unsettling the film makes necessary steps towards shining a light on the power the NFL has over the nation and media. Director Peter Landesman’s interpretation of the NFL could be perceived as a harsh generalization of an organisation focused on making money above all else, but ultimately his film is directed towards the NFL with with aim of making further changes in their regime. And sometimes, a jarring portrayal is more effective than an attempt to keep both sides happy.

From staged news conferences and phony medical advice to enlisting the F.B.I. to investigate his superior and friend Dr. Cyril Wecht, played by Albert Brooks, the National Football League sought to undermine Dr. Omalu and his colleagues, discredit the existence of CTE, and downplay the deadly nature of concussions. It would sound like a conspiracy theory if it weren’t all true. Brooks lends his signature sense of humor to the role of Wecht, a man who backs up Bennet’s crusade every step of the way, even when wary of the inevitable consequences. Despite a hit or miss southern accent, Alec Baldwin is especially effective as Dr. Julian Bailes, a former team doctor for the Steelers and an unlikely friend in helping Omalu combat these mounting obstacles. Smith gives his best performance in years as Omalu, a forensic pathologist at the Pittsburgh coroner’s office whose work is almost undone from the beginning when Steelers legend Mike Webster, played by David Morse, arrives in the lab. He is considered Patient Zero, the first known death due to CTE, and Omalu’s co-worker nearly derails the whole autopsy on the misguided basis of respecting his hero’s body. 

The pace of the film was at times confusing. Landesman moves things along a little too fast, utilizing overly kinetic cinematography and tired visual tricks to add immediacy to a story that’s already ripped from the headlines. Fake zooms, hokey freeze-frames, and CGI renditions of real-time concussions only distract and potentially undercut the message he is trying to convey. It’s not dissimilar from the sensationalist editing techniques found in Discovery channel crime documentaries. They might be eye-grabbing to some, but they render everything less authentic in the process. It’s important that Concussion preaches to more than the choir, and while occasionally amateur direction gets in the way of that, Will Smith’s commanding presence and a true story that’s hard to deny ensure this film succeeds in doing so.