When Kelvin Harrison Jr. was younger, he thought he wanted to follow in the footsteps of his musician parents — a vocalist mother and a classically trained jazz saxophonist father. In that vein, he learned how to play the trumpet and piano. But the passion for music never quite kicked in.
“My dad pushed it a lot so it didn’t feel like me expressing myself,” Harrison said. “That turned me off, I guess.”
As for what turned him on to acting, he credits the 1959 film Imitation of Life.
“I don’t know why, but I cried like a baby during that movie,” he said. “I didn’t realise that such a response could come from a film, other than laughing at the Disney Channel. That made me realise I had way more to offer and had a lot of feelings that needed to be let out. Acting became that outlet.”
Years later, Harrison is a standout at the 2018 Sundance Film Festival with three films premiering. In one of those — Sam Levinson’s Assassination Nation in the midnight section — he has a supporting role. But the other two — powerful leading turns in Reinaldo Marcus Green’s Monsters and Men, which premiered Friday, and Anthony Mandler’s Monster, which premiered Monday, both in competition — already have festival audiences buzzing.
In both pictures, Harrison embodies the quintessential young black male experience: coming of age in a world that has been historically guilty of stunting one’s growth, chaining and caging young men of colour into rigid ideas of existence. He not only delivers stellar performances, but puts the industry on notice of his talent — both an ability to act well beyond his years and also to bring a picture its needed authenticity and subtlety.
Echoing recent headlines, Monsters and Men follows three black men as their lives are impacted by the death of another black man by a white police officer, a situation eerily similar to the killing of Eric Garner on July 17, 2014. Harrison plays Zyrick, a star high school athlete who’s socially awakened by the incident.
Meanwhile, Monster, adapted from Walter Dean Myers’ 1999 novel of the same name, chronicles the trial of Harrison’s Steve Harmon, a 17-year-old honours student and aspiring filmmaker on trial for serving as lookout during an armed robbery of a Harlem bodega in which the store owner was killed. The prosecutor (Paul Ben-Victor) paints him as just another young black criminal — “a monster.” Steve and his lawyer (Jennifer Ehle) declare his innocence.
Monster was the first of the three pictures Harrison filmed. He auditioned for it in February 2016 because, he said, “I had never seen a narrative of a young black boy that’s super-introverted, a free-thinking intellectual and an artist.”
But he admits the tape he submitted was “terrible.” After he hadn’t heard back, the opportunity came to him once more after Avy Kaufman, the casting director from It Comes at Night — the post-apocalyptic horror film released last summer — signed on to Monster. She thought Harrison was a perfect fit. He initially declined.
“I think it’s a beautiful role, so I want the best person to do it. So I said no,” he said, thinking he couldn’t pull it off.
