The Blind Side (2009)

John  Lee Hancock's adaptation of Michael Lewis's book (itself based on a true story) is that rare beast, a film with clear Oscar ambitions that manages to remain entertaining and feelgood without being buried under its good intentions. Looking at the story, white middle class family adopts a homeless poor but talented boy with ambitions of playing professional football, is one riddles with potholes. From navigating the touchy issues of race and class in America, not to mention centring a fiery matriarchal figure that could embody right-wing Christian Americana, on the surface the film could have been insufferable. It is a relief and a pleasure then to find this isn't the case, wisely many of these issues are absent as the focus of the story turns to the characters, and the compassion people can show to each other, rather than delving too deeply into the underlying social issues.

Sandra Bullock won an Oscar for her role as Leigh-Anne Tuohy who is the driving force behind the whole movie and it's easy to see why. It is a remarkable performance, for all the reasons already mentioned and for the enthusiasm and persona she projects so completely throughout. A tiny powerhouse of determination and ambition she commands the screen, and playing against newcomer Quinton Aaron, who plays Michael Ohr (all 6ft 5 of him) that is no small achievement. As impressive as Bullock is it is Aaron that grounds the emotion of the film, he plays Michael as a bruised shell of a boy, a gentle giant right down to the core, and his protracted and soulful behaviour is less showy, but just as affecting. The rest of the Tuohy family make up most of the remaining characters in the film, it cleverly keeps the cast small and the story focused on the impact events have on the family and Michael himself.

As a well-known story (especially in the US) there are few surprises along the way, but the lightness of touch and winning characters make the journey more than worth it. On the down side the film is clearly more comfortable in the middle-class surroundings, it's few forays into Michael's old neighbourhood come across rather after-school special, but aside from that Daniels shows well honed control behind the camera, never pushing the story into the overly sentimental territory it could so easy fall into.

I was pleasantly surprised by how much I enjoyed the film, it is unashamedly designed to put a smile on your face and a fuzzy feeling in your heart, but when it's done this well, what's the harm in that?