Stephen Spielberg’s Lincoln begins in 1865 with two African
American Union soldiers describing to Lincoln the atrocities their men endured
at the hands of the Southern armies. Two white soldiers join them and begin
quoting Lincoln’s Gettysburg Address. One of the African Americans finishes the
address. That opening scene gives us a clear view of the people’s view of the
President and allows us a chance to like Lincoln.
Tony Kushner’s screenplay is based on a part of Doris Kearns
Goodwin’s Team of Rivals: The Political Genius of Abraham Lincoln. The film
focuses on Lincoln’s maneuverings to get the Thirteenth Amendment passed in a
contentious Congress, which feels surprisingly present-day. Reverse the
political titles of Democrat and Republicans, and one could see the film as
commentary on this past election.
The care for historical accuracy and casting of people who look remarkably like their historical counterparts is just one of the joys of
the production. The look of the film is not often as rich as Robert Redford’s
The Conspirator (2010), but the human drama and emotion is much more engrossing
and heart-felt. Redford delighted in long-shot views of the unfinished
Washington monument and the vistas of the raw capitol. Spielberg only has a
couple matte shots. His palette is more like painted etchings, with rich
shadows and chiaroscuro. Joanna Johnston’s costume designs presents lush and
authentic looking clothing which mirror the worn suits of Lincoln contrasted
with the elaborate, often Victorian gaudy dresses of his wife. More on Johnston’s costumes can be seen here.
Rick Carter’s production design gives sets which capture the
dark and smoky feel of the Lincoln White House (many residents complain about
the small feel of the residence) and the chambers of Congress where much of dramatic
action of the story takes place.
The most outstanding aspects of this production are the
performances of an incredible Daniel Day-Lewis, who feels a shoe-in for an
Academy Award nomination, and a powerful performance by Sally Field as the neurotic
and loving Mary Todd Lincoln. Their major confrontation scene over the loss of
their son Willie and Mary’s perceived danger to her eldest son, Robert, moved
me to tears for both actors. With beautifully nuanced performances, I found myself believing the actors as their
characters and not just as wax figures who kind of look the part but lack the humanity of
the people. These are people I can feel for and with.
In the small part of Robert Lincoln, Joseph Gordon-Levitt
has a very moving scene with his father where he tries to assert his need for
independence to serve his country in spite of being the president’s son.
Other outstanding performances were given by David
Strathairn (William Seward), James Spader (Bilbo), Hal Holbrook (Blair), Tommy
Lee Jones (Thaddeus Stevens, who has more at stake in the amendment passing
than we know), and Lee Pace (Wood).
In a quiet scene between Lincoln and his two secretaries,
John Hay (Joseph Cross) and John Nicolay (Jeremy Strong), Lewis captures the
homespun wisdom of Lincoln. At the end of the scene as Lincoln leaves, Hay stands
to honor the man—and I wanted to stand also.
I must admit this and many scenes
moved me to tears of both empathy and joy.
[Minor spoiler] An interesting playwrite/director decision comes near the
end. We assume we will see Booth and the tragedy at Ford’s Theatre. Instead, we
are taken to Tad’s enjoying Aladdin and the Wonderful Lamp at Grover’s Theater
when the play is stopped and the president’s assassination is announced.
The film was emotionally exhausting, but one that shows the
power of Spielberg at his best.
Lincoln (2012) *****
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