The incredible love story told in the movie Red Tails is one that transcends the barriers of race and language. It’s a tale that moves the story forward in anticipatory fervor, and is probably the story of how many mixed kids were “made” during WWII.
Lt. Joe ” Lightening” Little (David Oyelowo) is a Tuskegee Airman stationed in Italy. He sees a beautiful woman while flying, “the most beautiful woman he’s ever seen”, and rushes to find her upon landing.
When he knocks on the door of this earth-bound beauty, Sofia (Daniela Ruah), she doesn’t appear shocked to receive an African American caller at her door. In fact, she welcomes him in, he meets her mother, and the three attempt to communicate in bits of broken Italian for Joe, and with obscure hand gestures.
Throughout the movie, which is riddled with air missions, scenes of high tension while in flight against “the enemy” and more adverse moments on land among white contemporaries–the only constant where the crumbling signs of war is not evident is this relationship between Joe Little and Sofia that blossoms over time.
Joe, aka, Lightening was a man who fought at every interval of his time overseas: in flight, defying squad captain’s orders; Little constantly went against against Marty “Easy” Julian (Nate Parker) on just about every mission. He also agressively battled oppressive treatement among soldiers, fighting an unequal battle of racism–at one point instigating a huge bar brawl. Following that, his captain sternly asked him, “Is everything a fight?”.
In an eerie forshadowing before the movie’s close, a symbolic instance of dramatic irony, Lightening asks Sofia to marry him. They are walking the streets of Italy, he pulls her into a church. He takes off his hat, lowers to one knee, and asks, in broken Italian, for his lover’s hand in marriage. And she, with a symbol of his love on her dress–a set of wings–conscientiously declines. Later in the film,as the two are flying paper planes, she accepts his offer of marriage, and they kiss as effortlessly as one breathes: with natural rhythm, and steady consistency.
In these moments the viewer sees a man with conflicting priorities. In this church with his girlfriend at his side, Joe is a lover, a man who wants to settle down and live a tranquil existence with Sofia. However, in the air, “Lightening” is just what his name suggests: reckless, turbulant, not concerned about the future (over perhaps just foolish). He’s the best pilot and takes risks that the audience inwardly knows will cost him, dearly.
Through it all, the boundless romance held together with knowing glances and loving gestures not only served to ground Lightening, but was the source of a peace that Oyelowo’s character doesn’t realize he found until his violent, yet expected demise.
I believe the entire audience held our collective breath as the final moments of Lt. Joe Little’s life spiraled out of his hands. And as this occured, I couldn’t help but wonder about the “what ifs” of this love story. The unanswered questions are not overshadowed, however, by the endearing adventure of the power of the heart, and the realization of something special I took from this film:The power of love is boundless.
Two totally different people, hailing from different backgrounds. Much like a quote by Zora Neale Hurston: “Love makes your soul crawl out if it’s hiding place.” One African American, one Italian, find each other in the beautiful ruins of an era stricken with racism and war, wrapped in a love story that details a meeting of kindred souls held together by effortless understanding. .
EXTRA (Squared) 