106 - Lincoln (2012)

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) *****