A proposal involving two people from completely opposite cultures has their love seeking A United Kingdom against the resistance. Based on extraordinary true events, the film takes place in 1947, with Seretse Khama (David Oyelowo), the King of Botswana, meeting Ruth Williams (Rosamund Pike), a London office worker. They were a perfect match, yet their proposed marriage was challenged not only by their families but by the British and South African governments. The latter had recently introduced the policy of apartheid and found the notion of a biracial couple ruling a neighboring country intolerable. South Africa threatened the British: either thwart the couple or be denied access to South African uranium and gold and face the risk of South Africa invading Botswana. A United Kingdom is co-directed by Amma Assante and Steven Hall, and is rated PG-13 for some adult language including racial epithets, and a scene involving sensuality.

‘A United Kingdom’ and screenwriter Guy Hibbert take a usually domestic hotbed like racism and push it further by giving us a different telling of history. Led by two more than capable actors giving stirring performances, the film offers a dual telling of racism from the white AND black side of hatred, garnering so much more than the typical one-dimensional flick during this particular era. If this wasn’t enough, the very locations in this film between Britain and South Africa cement the idea that this disease in logic is more of a worldwide epidemic than a Southern American bible belt where this genre of films usually revolves around. This idea, as well as a script that shows a heartfelt side to romance, gives Amma Assante a leg up on recent bi-racial love stories like ‘Loving’ that only flirt with the idea of equally portraying both sides of the racial coin. Hibbert has a clear responsibility to both sides equally in this story, and he dedicates himself to the idea that love is always more important than hate, a credo that envelopes the movie from start to finish, with this bi-racial couple endearing their newfound power.

The first act will undoubtedly be the biggest test for the audience. I myself found the opening half hour to be jarringly abrasive from the remainder of the film, rushing through various plots and character exposition that is only made up later from two performances that constantly meet their mark. The editing is slightly jumpy during this act, breezing us through the finer parts of this relationship that is vital to the audience falling in love with them. Thankfully, the second act smoothly transitions, and one thing is certainly clear; all of this rushing of developments was done to focus not only on the rising of tension between South Africa and the Brits, but also that of this duo taking their love to a new environment. One of great polar opposite to where the two met and fell in love. As the story pushes along, I found myself impressed with how Hibbert and Assante could succeed at the very merits of what their relationship meant to the conflict of the African village and vice versa. Most unrelated subplots in films will usually not tie with one another, but you start to see the impacts that one has on the other, culminating in a gut-wrenching finale that will have you on the edge of your seats if you don’t know the real life story of Ruth and Seretse.

But how does the relationship stack up? If it’s not believable, then surely this story will deflate. Thankfully, that is never an issue, as the chemistry of Pike and Oyelowo not only feels believable, but is also given appropriate time to supplant their characters. What I love about the layering of this story is that this duo not only grows wonderfully as a couple, full of heart and compassion for one another that radiates beautifully, but also as individuals braving their own uphill climbs. Midway through the movie, a startling controversy separates the two, and the battle within their individual character becomes just as important as the strength between them when they are together. It’s kind of brilliant to attack the issue like this, especially considering that this is a romance of sorts that revolves around the concept of two against the world. But to get there, Hibbert forces us to understand that these are two brave people who came together to mold a union that was leaps and bounds ahead of its time, asking their respective sides to change along with them.

I mentioned the on-screen progression of Ruth an Seretse, but they would be nothing without the two experienced actors who harness that positive energy into two hearty performances. Rosamund Pike is thankfully starting to get the kind of roles that she deserves in Hollywood. As Ruth, Pike feels fragile, but caring, wanting the latter to outweigh the former in a place that she is unfamiliar with. That sense of feeling lost could overcome her character at any moment, but Pike pushes on, signaling a caring in her eyes with the numerous dispositions that she sees in the citizens of her new home. Oyelowo continues to be Mr. Dependable in A-list roles. David has always been someone whose childlike eyes do wonders into his extremely likeable personality, and Seretse is the perfect role for someone of that stature. He’s a lover, but as strong of a fighter as it gets, and you really start to take in the kind of isolation that he feels being on opposite sides from the one person who makes everything going on easier to take. Oyelowo gives an Oscar worthy speech midway through the movie that turned my skin into a bumpy sidewalk of goosebumps, full of chilling emotional response that cements this man as one of the finest dramatic faces working today. The chemistry between Pike and Oyelowo transcends even their roles as this couple, making it easier to immerse yourself into this delightful coupling that radiates positive energy frequently. The only performance that felt unnecessary to me was that of Tom Felton. His performance felt very out of place and slightly cartoonish as one of a few villain characters in this movie. Because of this overabundance, his character feels unnecessary, as well as flawed with how little he is really given to impact. His brief scenes felt more like a speedbump to the more meaty issues that didn’t concern him, and Felton’s character feels expendable in the overall scheme of things.

On the technical side of things, this is a beautifully captivating visual piece that really exceeds in the backdrop of these two strong actors putting on a show. The establishing shots of South Africa are breathtaking, and comprehend the idea of just how cut-off and isolated that they appear to be from the rest of the world around them that treats them like outsiders. The editing finds its place after the choppy first act that I mentioned earlier, and a strong musical accompaniment by composer Patrick Doyle plays its way into the immensity of this situation in story. There’s great building tension in the notes that Doyle commands, and the jazz soundtrack that radiates audibly during the first act sets the mood appropriately for the running joke early on that establishes their overnight romance.

‘A United Kingdom’ has some spotty pacing issues early that doesn’t capitalize on the patience of established storytelling, but fortunately the charming duo of Pike and Oyelowo, as well as a refreshing originality in content to race relation genre films, gives Assante the proper pieces to unite audiences of all races. It’s a perfect story for the perfect time, and feels like a constant reminder that in a world of bleak situations, love always trumps hate.

7/10