Three years later, Rustin remains alienated from King and much of the movement, but his commitment to nonviolent action is embraced by many younger activists, including Tom Kahn, his assistant and lover. Planning a large-scale march on Washington, D.C., Rustin enlists the help of A. Philip Randolph, the respected architect of demonstrations that led to such victories as ending racial segregation in the armed forces. Despite support from NAACP organizer Medgar Evers, Wilkins rejects Randolph and Rustin's plan, and Rustin begins an affair with Elias Taylor, a married organizer and pastor.
Violence against demonstrators in Birmingham receives national attention and spurs Rustin to leave his work at the War Resisters League, while Evers is assassinated hours after President John F. Kennedycalls for civil rights legislation. Rustin visits King — remembering being assaulted by police himself in 1942 for refusing to move to the back of a bus — and convinces him to lend his support to the march. Wilkins continues to object to Rustin's participation due to his reputation, but Randolph appoints Rustin as his deputy director, fully in charge of organizing the March on Washington.
Gathering a team of volunteers and dedicated activists, including Cleve Robinson and Dr. Anna Hedgeman, at a makeshift office in Harlem, Rustin visits the National Mall but is prevented from meeting with D.C. officials. He warns King that they have made powerful political enemies, and is forced to accept Wilkins' and others' demands that reduce the march to a single day. Rustin and his organizers continue to raise funds and public support, but his affair with Taylor strains his relationship with Kahn.
Senator Strom Thurmond publicly denounces Rustin as a communist, and Powell attempts to embarrass him into stepping down, but Rustin's remarkable efforts to organize a 100,000-person march in seven weeks speak for themselves. After Rustin receives a strongly-worded call from Taylor's pregnant wife, Taylor ends their affair. Thurmond publicizes Rustin's arrest for homosexual activity in Pasadena ten years earlier, but Randolph and King come to his defense.
On August 28, 1963, the March on Washington draws over 200,000 people, gathering in front of the Lincoln Memorial. The massive demonstration culminates in King's "I Have a Dream" speech, and though Wilkins invites Rustin to join the march's leaders at the White House, he remains behind with his volunteers. An epilogue explains that the march was the nation's largest peaceful protest at that time; the Civil Rights Act was enacted nine months later; and Rustin would later meet his lifelong partner, and receive the Presidential Medal of Freedom.
Lenny Kravitz wrote and performed an original song, "Road to Freedom," for the film. On approaching Kravitz for writing a song for the film, Wolfe said, "The one note I gave him was the song needed to help deliver us as an audience, from feeling to action. And trombones. I begged for trombones." Wolfe became fascinated with trombones after filming Ma Rainey's Black Bottom (2020), and Trombone Shorty was brought on board to contribute to the song.[10]
On the review aggregator website Rotten Tomatoes, 83% of 169 critics' reviews are positive, with an average rating of 7/10.The website's consensus reads: "Colman Domingo is sensational in Rustin, a stirring biopic that shines an overdue light on a remarkable legacy of public service."[18]Metacritic, which uses a weighted average, assigned the film a score of 68 out of 100, based on 39 critics, indicating "generally favorable" reviews.[19]
Domingo garnered much critical acclaim for his performance in the title role.[20] John Anderson of The Wall Street Journal commended Domingo as a "force of nature in this film, delivering a complex, highly sympathetic portrayal" that "determines what the movie actually is, while preventing it from going awry."[21] Maureen Lee Lenker elaborated, in her review for Entertainment Weekly, that "Domingo infuses Rustin with a warmth and vibrancy that creates a performance of immense empathy" and followed this by stating "his portrait of a man fighting for both his race and his sexuality feels incredibly personal and helps hammer home Rustin's commitment to true 'justice for all.'"[22]The Guardian's Benjamin Lee appreciated the film's intersectional coverage of Rustin's struggles and concluded that Domingo "nails the charming persuasiveness that would explain how Rustin achieved so much in such a short amount of time and as he slowly starts to experience a level of acceptance for his whole self, rather than handpicked parts, there’s a genuine poignancy to watching him crumble in front of us, a weight we can feel being lifted away.[23]
Other critics were more lukewarm towards the film, in particular for its screenplay and direction. Bilge Ebiri from Vulture observed that the script was laden with "ham-handed stage-setting with lines" that equated to "classroom-exercise level writing", leading to a film that was "filled with all the clichés of the genre." He also elaborates that the film's "predictable plot points" and the "pro forma" nature of Rustin's "personal affairs" in conjunction with Wolfe's "methodical direction" led to "visual inertia".[24]RogerEbert.com's Robert Daniels similarly agreed that the film suffocated Domingo and suppressed his potential, noting that he "ultimately clings to these emotional crescendos, gripping for dear life to a film that rarely, if ever, rises to his level."[25] In his review, Michael O'Sullivan of The Washington Post found the film's "perfunctory plot" to be "as montage-y and as superficial as the film’s opening reenactments" and criticized the lack of character development across the supporting cast, noting "none of them stands out as a three-dimensional character".[26]
Specific criticism was further directed towards the film's approach of Rustin's sexuality as a narrative. Dustin Guastela of Jacobin criticized the film for caricaturing Rustin's political views: "Rustin claims the civil rights hero has been forgotten because of his sexuality. But it was his fiery and provocative class politics that makes him both controversial and prophetic today." He argues that the film's lack of development in the relationship between Rustin and Tom Kahn "weaponized" Rustin's sexuality as a means to obscure that Rustin's "historical neglect" was also due, in part, to his political views, which were "no less a reason for his official erasure from canonical civil rights history."[27] In his review for IndieWire, David Ehrlich also lamented the film's handling of Rustin's sexuality and stated that "Rustin is diminished by the forced momentum of its plotting, by how inelegantly the script incorporates the social dynamics of Rustin’s homosexuality (the love triangle that develops between Rustin, fellow activist Tom Kahn, and a composite character played by Johnny Ramey stops the movie dead in its tracks every time it comes up)."[28]
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