Top Ten Favorite Movies Set in the 1860s

Below is my current list of favorite movies set in the 1860s: 

TOP TEN FAVORITE MOVIES SET IN THE 1860s

1. “Lincoln” (2012) – Steven Spielberg directed this highly acclaimed film about President Abraham Lincoln’s last four months in office and his efforts to pass the 13th Amendment to end slavery. Oscar winner Daniel Day-Lewis, Oscar nominee Sally Field and Oscar nominee Tommy Lee Jones starred.

2. “Shenandoah”(1965) – James Stewart starred in this bittersweet tale about how a Virginia farmer’s efforts to keep his family out of the Civil War failed when his youngest son is mistaken as a Confederate soldier by Union troops and taken prisoner. Andrew V. McLaglen directed.

3. “Angels & Insects” (1995) – Philip Haas directed this adaptation of A.S. Byatt’s 1992 novella, “Morpho Eugenia” about a Victorian naturalist who marries into the English landed gentry. Mark Rylance, Kristin Scott-Thomas and Patsy Kensit starred.

4. “Class of ’61” (1993) – Dan Futterman and Clive Owen co-starred in this television movie about recent West Point graduates and their experiences during the first months of the Civil War. Produced by Steven Spielberg, the movie was directed by Gregory Hoblit.

5. “The Tall Target” (1951) – Anthony Mann directed this suspenseful tale about a New York City Police sergeant who stumbles across a plot to kill President-elect Lincoln and travels aboard the train carrying the latter to stop the assassination attempt. Dick Powell starred.

6. “Far From the Madding Crowd” (1967) – John Schlesinger directed this adaptation of Thomas Hardy’s 1874 novel about a young Victorian woman torn between three men. The movie starred Julie Christie, Alan Bates, Terence Stamp and Peter Finch.

7. “The Good, the Bad and the Ugly” (1966) – Sergio Leone directed this epic Spaghetti Western about three gunslingers in search of a cache of Confederate gold in New Mexico, during the Civil War. Clint Eastwood, Lee Van Cleef and Eli Wallach starred.

8. “Cold Mountain” (2003) – Anthony Minghella directed this poignant adaptation of Charles Fraizer’s 1997 novel about a Confederate Army deserter, who embarks upon a long journey to return home to his sweetheart, who is struggling to maintain her farm, following the death of her father. The movie starred Oscar nominees Jude Law and Nicole Kidman, along with Oscar winner Renee Zellweger.

9. “Little Women” (1994) – Gillian Armstrong directed this adaptation of Louisa May Alcott’s 1868 novel about four sisters from an impoverished, yet genteel New England family. The movie starred Winona Ryder, Trini Alvarado, Christian Bale and Susan Sarandon.

10. “The Beguiled” (1971) – Clint Eastwood starred in this atmospheric adaptation of Thomas Cullinan’s 1966 novel about a wounded Union soldier who finds refuge at an all-girl boarding school in 1863 Mississippi. Directed by Don Siegel, the movie co-starred Geraldine Page and Elizabeth Hartman.

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“THE HATEFUL EIGHT” (2015) Review

 

“THE HATEFUL EIGHT” (2015) Review

Following the success of his 2012 movie, “DJANGO UNCHAINED”, Quentin Tarantino set about creating another movie with a Western theme that also reflected today’s themes and social relationships in the United States. However, due to circumstances beyond his control, Tarantino nearly rejected the project. And if he had, audiences would have never seen what came to be . . . “THE HATEFUL EIGHT”.

The circumstances that nearly led Tarantino to give up the project occurred when someone gained access to his script and published it online in early 2014. The producer-director had considered publishing the story as a novel, until he directed a reading of the story the United Artists Theater in the Ace Hotel Los Angeles. The event was organized by the Film Independent at Los Angeles County Museum of Art (LACMA) as part of the Live Read series. The success of the event eventually convinced Tarantino to shoot the movie.

“THE HATEFUL EIGHT” is at its heart, a mystery. I would not describe it as a murder-mystery, but more like . . . well, let me begin. The story begins in the post-Civil War Wyoming Territory where a stagecoach rushing to get ahead of an oncoming blizzard, is conveying bounty hunter John Ruth aka “The Hangman” and his handcuffed prisoner, a female outlaw named Daisy Domergue. The stagecoach is bound for the town of Red Rock, where Daisy is scheduled to be hanged. During the journey, an African-American bounty hunter named Major Marquis Warren, who is transporting three dead bounties to the town of Red Rock, hitches a ride on the stagecoach. His horse had died on him. Several hours later, the stagecoach picks up another passenger, a former Confederate militiaman named Chris Mannix, who claims to be traveling to Red Rock in order to become the town’s new sheriff. The stagecoach passengers are forced to seek refuge at a stage station called Minnie’s Haberdashery, when the blizzard finally strikes. The new arrivals are greeted by a Mexican handyman named Bob, who informs them that Minnie is visiting a relative and has left him in charge. The other lodgers are a British-born professional hangman Oswaldo Mobray; a quiet cowboy named Joe Gage, who is traveling to visit his mother; and Sanford Smithers, a former Confederate general. Forever paranoid, Ruth disarms all but Warren, with whom he had bonded during stagecoach journey. When Warren has a violent confrontation with Smithers, Daisy spots someone slip poison into a pot of coffee, brewing on the stove. Someone she recognizes as a fellow outlaw, who is there to spring her free from Ruth’s custody. And there is where the mystery lies – the identity of Daisy’s fellow outlaw.

“THE HATEFUL EIGHT” marks the sixth Quentin Tarantino movie I have ever seen. I also found it the most unusual. But it is not my favorite. In fact, I would not even consider it among my top three favorites. And here is the reason why. “THE HATEFUL EIGHT” struck me as being too damn long with a running time of two hours and forty-seven minutes. I realize that most of Tarantino films usually have a running time that stretches past two hours. But we are talking of a film that is basically a character study/mystery. Even worse, most of the film is set at a stagecoach station – a one-story building with one big room. Not even Tarantino’s attempt to stretch out the stage journey at the beginning of the film could overcome this limited setting. And due to the limited setting and film’s genre, “THE HATEFUL EIGHT” is probably the least epic film in his career, aside from his first one, 1993’s “RESERVOIR DOGS”. At least that film did not stretch into a ridiculously long 167 minute running time.

I also thought Tarantino made too much of a big deal in the confrontation between Major Marquis Warren and General Sanford Smithers. Apparently, Warren had a grudge against Smithers for executing black troops at the Battle of Baton Rouge. I find this improbable, due to the fact that there were no black troops fighting for the Union during that battle, which was a Union victory. There were no black Union or Confederate troops known to have taken part in that particular battle. Tarantino should have taken the time to study his Civil War history. But what really annoyed me about the Warren-Smithers confrontation was that Tarantino thought it was necessary to include a flashback showing Warren’s encounter with Smither’s son, which resulted in the latter’s death. I realize that the Warren-Smithers encounter allowed Daisy’s mysterious colleague to poison the coffee. But a flashback on Warren and Smithers Jr.? Unnecessary. I also found Tarantino’s narration in the film somewhat unnecessary. Frankly, he is not a very good narrator. And I found one particular piece of narration rather unnecessary – namely the scene in which Daisy witnessed the coffee being poisoned. Tarantino could have shown this on screen without any voice overs.

Despite these flaws, I must admit that I still managed to enjoy “THE HATEFUL EIGHT”. It featured some outstanding characterizations and dialogue. And it seemed the cast really took advantage of these well-written aspects of the script. I am not surprised that the film had received numerous nominations for Best Ensemble. Although the running time for “THE HATEFUL EIGHT” might be longer than it should, I have to give Tarantino kudos for his well-structured screenplay. He took his time in setting up the narrative, the mystery and his characters. And although he may have overdone it a bit by taking his time in reaching the film’s denouement, Tarantino delivered quite a payoff that really took me by surprise, once he reached that point. Unlike many movie directors today, Tarantino is a firm believer in taking his time to tell his story. My only regret is that he took too much time for a story that required a shorter running time.

But what I really liked about “THE HATEFUL EIGHT” is that it proved to be a new direction for Tarantino. In this age filled with lack of originality in the arts, it was refreshing to see there are artists out there who are still capable of being original. After viewing the movie at the theater, it occurred to me that is was basically an Agatha Christie tale set in the Old West. Tarantino utilized many aspects from various Christie novels. But the movie resembled one movie in particular. Only I will not say what that novel is, for it would allow anyone to easily guess what happens in the end. Although many of Christie’s novels and Tarantino’s movies feature a good deal of violence, “THE HATEFUL EIGHT” featured very little violence throughout most of its narrative . . . until the last quarter of the film. Once the Major Warren-General Smithers confrontation took place, all bets were off.

I wish I could comment on the movie’s production values. But if I must be honest, I did not find it particularly memorable. Well, there were one or two aspects of the movie’s production that impressed me. I really enjoyed Robert Richardson’s photography of Colorado, which served as Wyoming Territory for this film. I found it sharp and colorful. I also enjoyed Yohei Taneda’s production designs for the movie . . . especially for the Minnie’s Haberdashery setting. I though Taneda, along with art directors Benjamin Edelberg and Richard L. Johnson, did a great job of conveying the Old West in that one setting.

Naturally, I cannot discuss “THE HATEFUL EIGHT” without mentioning the cast. What can I say? They were outstanding. And Tarantino did an outstanding job directing them. As far as I know, “THE HATEFUL EIGHT” marked the first time at least three members of the cast have worked with Tarantino – Jennifer Jason-Leigh, Channing Tatum and Demián Bichir. Otherwise, everyone else seemed to be veterans of a Tarantino production, especially Samuel L. Jackson. “THE HATEFUL EIGHT” marked his sixth collaboration with the director. It is a pity that he was not recognized for his portrayal of bounty hunter, Major Marquis Warren. As usual, he did an outstanding job of portraying a very complex character, who not only proved to be a ruthless law enforcer, but also a somewhat cruel man as shown in his confrontation with General Smithers. Actually, most of the other characters proved to be equally ruthless. Kurt Russell’s portrayal of bounty hunter John Ruth struck me as equally impressive. The actor did an excellent job in conveying Ruth’s ruthlessness, his sense of justice and especially his paranoia. Walton Goggin’s portrayal of ex-Confederate-turned-future lawman seemed like a far cry from his laconic villain from “DJANGO UNCHAINED”. Oddly enough, his character did not strike me as ruthless as some of the other characters and probably a little more friendly – except toward Warren. Jennifer Jason-Leigh has been earning acting nominations – including Golden Globe and Academy Award Best Supporting Actress nods – for her portrayal of the captured fugitive Daisy Domergue. Those nominations are well deserved, for Jason-Leigh did an outstanding job of bringing an unusual character to life. Ironically, the character spent most of the movie as a battered prisoner of Russell’s John Ruth. Yet, thanks to Jason-Leigh, she never lets audiences forget how ornery and dangerous she can be.

Tim Roth, who had not been in a Tarantino production since 1995’s “FOUR ROOMS”, gave probably the most jovial performance as the very sociable English-born professional hangman, Oswaldo Mobray. Bruce Dern, who was last seen in“DJANGO UNCHAINED”, had a bigger role in this film as the unsociable ex-Confederate General Sanford Smithers, who seemed determined not to speak to Warren. Despite portraying such an unsympathetic character, Dern did an excellent job in attracting the audience’s sympathy, as his character discovered his son’s grisly fate at Warren’s hands. Michael Masden gave a very quiet and subtle performance as Joe Gage, a rather silent cowboy who claimed to be on his way to visit his mother. And yet . . . he also projected an aura of suppressed danger, which made one suspect if he was Daisy’s collaborator. A rather interesting performance came from Demián Bichir, who portrayed the stage station’s handyman, Bob. Like Madsen’s Gage, Bichir’s Bob struck me as a quiet and easygoing man, who also conveyed an element of danger. I was very surprised to see Channing Tatum in this film, who portrayed Jody Domergue, Daisy’s older brother. Although his role was small, Channing was very effective as the villainous Domergue, who could also be quite the smooth talker. “THE HATEFUL EIGHT” also featured excellent supporting performances from the likes of James Parks, Dana Gourrier, Lee Horsley, Zoë Bell, Keith Jefferson and Gene Jones.

Yes, I found “THE HATEFUL EIGHT” too long. I feel it could have been cut short at least by forty minutes. And I was not that impressed by Quentin Tarantino’s voice over in the film. I could have done without it. But despite its flaws, I cannot deny that I found “THE HATEFUL EIGHT” to be one of the director’s more interesting movies in his career. With a first-rate cast led by Samuel L. Jackson, Kurt Russell, Walton Goggins and Jennifer Jason-Leigh; and a screenplay that seemed to be an interesting combination of a murder mystery and a Western; Tarantino created one of his most original movies during his career.

 

“DJANGO UNCHAINED” (2012) Review

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“DJANGO UNCHAINED” (2012) Review

Over three years following the release of his 2009 movie, “INGLORIOUS BASTERDS”, Quentin Tarantino courted success and controversy with a new tale set the past. Called “DJANGO UNCHAINED”, this new movie combined the elements of the Old West and Old South and told the story about a recently freed slave-turned-bounty hunter in search of his still enslaved wife. 

The movie begins with a gang of male slaves being transported across Texas by a group of slavers called the Speck brothers. The group encounter Dr. King Schultz, a German-born dentist, who also happens to be a bounty hunter. Schultz offers to purchase Django, whom he believes can identify a trio of murderous siblings called the Brittle brothers, who had worked as overseers for Django’s previous owner. The Specks become hostile and Schultz kills one of the brothers. He then frees Django and leaves the wounded brother behind to be killed by the newly freed slaves. Django and Schultz come to an agreement in which the latter will give the former freedom, a horse and $75 for helping him identify the Brittle brothers. Once the pair achieve their goal at a Tennessee plantation owned by one Spencer “Big Daddy” Bennett, Schultz takes on Django as his associate and over the winter, collect a number of bounties. In the following spring, Schultz offers to help Django track down the latter’s wife, Broomhilda von Shaft. They discover that she is owned by a brutal, yet charming Mississippi planter named Calvin Candie. The pair realize that in order to rescue Broomhilda, they would have to pose as potential buyers of a fighter slave in order to secure an invitation at Candie’s plantation called Candyland.

Even before its initial release in movie theaters in late December, “DJANGO UNCHAINED” managed to attract a good deal of controversy. Producer/director Spike Lee declared the movie as an insult to his ancestors in a magazine article and his refusal to see it. Others have criticized the film for its violence and its use of the word “nigger”. And some have criticized the movie for historical inaccuracy. They claimed that the practice of fighting Mandingo slaves never existed and that Tarantino depicted the Klu Klux Klan a decade before its actual existence. And Jeff Kuhner of The Washington Timescomplained that: “Anti-white bigotry has become embedded in our postmodern culture. Take Django Unchained. The movie boils down to one central theme: the white man as devil — a moral scourge who must be eradicated like a lethal virus.”

Mind you, I have my own complaints about “DJANGO UNCHAINED”. Actually, I have three complaints. One, I found the movie’s chronological setting rather confusing. According to the movie’s opening, it began in “1858 – Two years before the Civil War”. Judging by the weather, Django’s first meeting with Schultz in Texas occurred in the fall. Which probably means that the movie began two-and-a-half years before the Civil War, not two years. Yes, I am being anal about this. However, Django and Schultz accompanied Candie to Candyland in early May 1858 . . . at least according to a scene that featured Candie’s head slave Stephen writing out a check for supplies. It is quite obvious that Tarantino got his time frame a little off. Was “DJANGO UNCHAINED” set between the fall of 1858 and the spring of 1859? Or was it set between the fall of 1857 and the spring of 1858? Only Tarantino can answer this. I also found the character of Broomhilda von Shaft slightly underdeveloped. Some have claimed that her character is passive. I would disagree, considering she was introduced being punished for attempting to run away from Candyland. But aside from a scene or two, I feel that Tarantino could have done a little more with her character. And three, I have mixed feelings about Tarantino’s use of flashbacks in this movie. Some of the flashbacks were well utilized – including those featuring Django’s memories of Broomhilda being whipped and branded as a runaway, Schultz’s trauma over witnessing the mutilation of a Candie slave named D’Artagnan, and Big Daddy organizing a group of night riders to attack Django and Schultz. But some of the flashbacks seemed to go by so fast that I found their addition to the film unnecessary.

As for the other complaints about the movie, I do have a response. Spike Lee is entitled to his decision not to see the movie. However, I do find his willingness to condemn the movie without seeing it rather strange. Criticism of Tarantino’s use of violence in his movies have become repetitive in my eyes. “DJANGO UNCHAINED” is a Quentin Tarantino movie. Can someone name one of his movies that did not feature any violence? Because I cannot. And his recent films do not strike me as violent as earlier films such as 1993’s “RESERVOIR DOGS”. Also, violence has played a part in many slave societies throughout history . . . including U.S. slavery. Yes, the Ku Klux Klan was first organized in the late 1860s, after the Civil War. But the Klan’s origins came from patrol riders, who were recruited by planters in many Southern states to maintain vigilance of both slaves and free black in local rural neighborhoods. So, the idea of “Big Daddy” Bennett organizing a group of local riders to attack Django and Schultz is not implausible.

In response to Jeff Kuhner’s accusation of anti-white bigotry, Tarantino not only created the German-born Schultz, who helped Django attain freedom and find Broomhilda; but also a Western sheriff portrayed by television veteran Lee Horsley (“MATT HOUSTON” anyone?), who seemed very friendly to both the German immigrant and the former slave. Tarantino also created Candyland’s head house slave, Stephen, who proved to be one of the film’s worst villains. So much for Kuhner’s accusation. A great deal of “DJANGO UNCHAINED” is set in the pre-Civil War South and its topic happens to be about American slavery. The use of “nigger” is historically accurate for the movie’s setting. And I am surprised that no one has complained about the slur being used in Steven Spielberg’s recent movie, “LINCOLN”. Hell, the word is used throughout productions such as the two “ROOTS” miniseries, the three “NORTH AND SOUTH” miniseries, “QUEEN”, the 1971 movie “SKIN GAME” and in a good number of other movie and television productions set in antebellum and Civil War America. Even the use of the slur in a production set in the 19th century North would be historically accurate. I also recall the use of racial slurs for whites in a few scenes. As for Tarantino’s use of Mandingo fighting slaves in the movie . . . I have no explanation for its presence in this film. There is no historical evidence of this particular sport. And I suspect that Tarantino was simply inspired by the 1975 movie, “MANDINGO” and Kyle Onstott’s 1957 novel upon which the latter was based.

So . . . how do I feel about “DJANGO UNCHAINED”? Frankly, I believe it is one of the best movies of 2012. And I also consider it to be another cinematic masterpiece by Quentin Tarantino. One of the aspects of “DJANGO UNCHAINED”was Tarantino’s ability to take a rather dark topic like slavery and fashioned it into a explosive mixture of action, drama, suspense and some comedy. Many have complained that the movie should have been a straight drama, considering its topic. But I disagree. Yes, “DJANGO UNCHAINED” could have been an effective straight drama. But Tarantino decided to take a rare and unique route in unfolding his tale. And in doing so, he managed to fashioned a fascinating story that allowed me to experience an array of emotions that left me more than satisfied by the movie’s last scene. In doing so, Tarantino won a much deserved Academy Award for Best Original Screenplay.

“DJANGO UNCHAINED” was not the first time comedy was used to reveal one of the darkest episodes in this country’s history. This has been done in “SKIN GAME” and in television shows such as “BEWITCHED” and the comedy sketch series, “KEY & PEELE”. Tarantino used the same mixture of pathos, horror, drama and comedy for many of his past movies – especially in “INGLORIOUS BASTERDS”. I found this use of humor especially effective in scenes that included the surviving Speck brother’s attempt to convince the slaves freed by Schultz not to kill him. I never knew that James Russo, who portrayed the surviving Speck brother, could be so funny. Django and Schultz’s little exchange regarding the former’s identification of the Sprittle brothers struck me as funny. I could say the same about Stephen’s reaction to Candie’s treatment of Django as a house guest and Lara Lee Candie-Fitzwilly’s (Candie’s sister) futile attempts to attract Schultz’s attention. But the funniest sequence has to be the flashback featuring “Big Daddy” Bennett’s recruitment of night riders for an attack on Django and Schultz. In fact, that particular scene practically had me rolling with laughter.

Some people have complained that “DJANGO UNCHAINED” is basically a revenge tale for African-Americans. I find this accusation rather odd, considering that Django’s main objective was to find Broomhilda and get her out slavery by any means possible. And despite the movie’s prevalent humor, Tarantino did not hold back in presenting not only the horrors and emotional traumas of slavery, but also racism. This was especially true in a handful of scenes in the movie. The opening scene featured an emotionally shell shocked Django being transported across Texas as part of a slave coffle. Other traumatic scenes include Candie’s little speech on the inferiority of blacks, the erruption of violence at Candyland that resulted in Django hanging from a barn’s roof, naked and bound and Stephen’s maleovelent revelation of Django’s fate as a slave for a Mississippi mining company. One horrifying scene that I found particularly brutal was a flashback featuring Broomhilda’s brutal whipping at the hands of the Brittle brothers, while Django desperately tries to convince one of the brothers to spare her.

I really do not know what to say about the performances featured in the movie. I realize there are no Academy Award nominations for ensemble casts. If there were, I would nominate the cast of “DJANGO UNCHAINED”. One, Tarantino cast old movie and television veterans in cameo roles. I have already mentioned Lee Horsley and James Russo. I also spotted the likes of Russ and Amber Tamblyn, Don Stroud, Tom Wopat, Cooper Huckabee, Robert Carradine, Michael Parks and a humorus special guest appearance by Franco Nero. Both Bruce Dern and M.C. Gainey (of “LOST”) were especially scary in their brief appearances as Old Man Carrucan (Django and Broomhilda’s former owner) and Big John Brittle. Both Dana Michelle Gourrier and Nichole Galicia gave solid performances as Cora and Sheba, Candie’s housekeeper and concubine respectively. And Dennis Christopher’s performance as Calvin Candie’s obsequious attorney, Leonide Moguy, struck me as spot-on.

Don Johnson provided a skillful combination of charm, menace and humor in his role as Spencer “Big Daddy” Bennett, the Tennessee planter who served as the Brittle brothers’ current employer. Jonah Hill had a funny cameo as one of his night riders. I could say the same about Miriam F. Glover, who gave one of the movie’s funniest lines, while portraying one of Big Daddy’s house slaves. Ato Essandoh of A&E’s “COPPER” was very effective as D’Artagnan, the frightened fighting slave whose runaway attempt led to his brutal death. Laura Cayouette’s performance as Lara Lee Candie-Fitzwilly, Candie’s widowed sister, struck me as effective. On one hand, I found her attempts to seduce Schultz rather funny. On the other hand, her outrage over Candie’s attempt to display a naked Broomhilda during supper provided a great deal of tension in the scene. Walton Goggins gave a memorable and scary performance as one of Candie’s henchmen, Billy Crash. James Remar got to portray two intimidating characters – Ace Speck and Candie’s main henchman, Butch Pooch. And he did a damn good job with both roles.

Although I had been critical of Tarantino’s creation of the Broomhilda von Shaft, I must admit that Kerry Washington still managed to wring out a first-rate performance from the role. I especially impressed with her in scenes that featured Broomhilda’s tense encounters with Stephen; and her subtle, yet pleased reaction to Schultz’s purchase of her from Candie and her painful whipping by the Brittle brothers in one of the flashback. And I must admit that I found that last shot of her removing a shotgun from her saddle rather interesting. Perhaps after all that Broomhilda had endured, she was not taking any chances. I believe that the year 2012 will prove to be one of Samuel L. Jackson’s best years professionally. Aside from portraying Nick Fury in the year’s biggest hit, “THE AVENGERS”; he got to portray one of the most complex and villainous roles in “DJANGO UNCHAINED” as Candie’s trusted and malevolent head house slave, Stephen. Watching the movie, I was struck at how much Stephen reminded me of the Mr. Carson character from the British television series,“DOWNTON ABBEY”. Both characters possessed the same blinding loyalty, snobbery, jealousy over his position within the slave hierarchy, and anger toward anyone from their background who managed to rise higher than they (for example: Django). Jackson did a superb job in not only conveying Stephen’s penchant for utilizing the old “Puttin’ on Old Massa”routine publicly, but also his intelligence while in the private company of Django, Broomhilda or Candie. Jackson has a nice singing voice, but I do wish he had received an Oscar nomination for his performance. Many people have expressed surprise at Leonardo Di Caprio’s portryal of the villanous, yet charsmatic Calvin Candie. I was not that surprised, considering I have seen him portray a villain before – as the cold-blooded Louis XIV in 1998’s “THE MAN IN THE IRON MASK”. But I do believe that Candie not only proved to be a more memorable villain, but also one of the actor’s best roles ever. He was fantastic as the charming, yet brutal Candie . . . and at the same time rather contradictory. It was obvious that Di Caprio’s Candie fervently believed in the superiority of whites; yet at the same time, he had no problems with allowing Stephen to handle the plantation’s finances or accepting the elderly slave’s intelligence and sharp observations about Django, Schultz and Broomhilda with very little reluctance. Di Caprio received a Golden Globe nomination for his performance. Unfortunately, he did not receive an Academy Award nomination. And I feel that both he and Jackson were unfairly denied one.

Instead of portraying a villain, Christoph Waltz portrayed Django’s friendly, yet ruthless mentor and partner; the German-born dentist-turned-bounty hunter, Dr. King Schultz. And he was fantastic. Waltz effectively portrayed Schultz’s cold-blooded pursuit of wanted criminals for profit, yet at the same time; conveyed the character’s disgust over the institution of slavery and open-mindedness toward Django, Broomhilda and other slaves. Waltz’s best moments proved to be Schultz’s encounter with the Speck brothers and Django in Texas, his taking down of the wanted Sheriff Bill Sharp (portrayed by Don Stroud), his reaction to D’Artagnan’s mauling and the revelation of his disgust toward Candie. Not only did Waltz received nominations for his performance, he also won both the Golden Globe and Academy Award Best Supporting Actor awards. And he proved to have great screen chemistry with Jamie Foxx. I believe that the latter’s portrayal of the title character has proven to be vastly underrated by the majority of film critics and some moviegoers. In fact, no one even considered Foxx for any acting nomination whatsoever. I felt disappointed, but not that surprised. Django turned out to be a somewhat introverted character that was not inclined to speak very much . . . whether as a slave or a free man. Critics and filmgoers are not inclined to pay much attention to non-showy characters. Since Django proved to be a such quiet character, Foxx resorted to good old-fashioned screen acting to convey most of the character’s non-speaking moments. And he did a superb job in portraying Django’s array of emotions – especially in the opening scene featuring the slave coffle in Texas, Schultz’s killing of the criminal, his first view of Broomhilda at Candyland, and the confrontation with Candie during the latter’s supper party. Ironically, another one of Foxx’s best moments proved to be quite verbal in which he attempts to con a group of slavers for a mining company to take him back to Candyland in order to collect on a fake bounty. In the end, Foxx did a superb job in developing Django from a slave in shock over the traumatized separation from his wife to the soft-spoken, yet self-assured man who could be very ruthless when the situation demanded it.

I also have to say a word about the movie’s behind-the-scene production. I was impressed by Sharen Davis’ costume designs. She did a solid job in re-creating the fashions of the late antebellum period. However, I noticed a few oddball designs for Candie’s slave mistress Sheba and a maid at a social club in Greenville, Mississippi; reflecting the planter’s penchant for anything French. I suspect this was a visual joke on Tarantino’s part. I was also impressed by J. Michael Riva’s production designs and Leslie A. Pope’s set decorations in the sequences for the Texas town featured in the movie’s first 10 to 20 minutes, Candie’s Napoleon Club in Greenville and especially the interiors for Candyland’s mansion. Robert Richardson did an excellent in capturing the beauty of California, Louisiana and especially Wyoming with his photography. As he had done for “INGLORIOUS BASTERDS”, Tarantino used already recorded music to serve as the score for his movie. I did notice that a few songs – especially one for the opening title sequence – seemed to have been written specifically for the movie. However, I do not know who may have written them.

It occurred to me that “DJANGO UNCHAINED” was Tarantino’s second period piece in a row. And I found myself wondering if he planned to write and direct a third period movie as part of some kind of semi-historical trilogy. Whether he does or not, I must say that I was impressed with “DJANGO UNCHAINED”. More than impressed. I believe it is one of the best movies I have seen released in 2012 and deserved the accolades it received during Hollywood’s award season for that year. And I feel that it is one of the writer-director’s more original works, due to superb writing, direction and an excellent cast led by Jamie Foxx and Christoph Waltz.

P.S. Check out this photo:

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Ohmigod! It’s Crockett and Tubbs!

“LINCOLN” (2012) Review

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“LINCOLN” (2012) Review

When I first heard of Steven Spielberg’s decision to make a biographical film about the 16th president of the United States, I ended up harboring a good deal of assumptions about the movie. I heard Spielberg had planned to focus on Abraham Lincoln’s last year in office and assumed the movie would be set between the spring of 1864 and April 1865. I had assumed the movie would be about Lincoln’s various problems with his military generals and other politicians. I thought it would be a more focused similarity to the 1998 miniseries of the same name.

In the end, “LINCOLN” proved to be something quite different. Partly based on Doris Kearns Goodwin’s 2005 biography of Lincoln and his Cabinet members, “Team of Rivals: The Political Genius of Abraham Lincoln”, the movie mainly focused on Lincoln’s efforts in January 1865 to have slavery abolished in the country, by getting theThirteenth Amendment to the United States Constitution passed by the House of Representatives. According to Tony Kutchner’s screenplay, Lincoln expected the Civil War to end within a month. He felt concerned that his 1863 Emancipation Proclamation may be discarded by the courts at the war’s conclusion and the 13th Amendment defeated by the returning slave states. To ensure that the 13th Amendment is added to the Constitution, Lincoln wanted it passed by the end of January in order to remove any possibility of those slaves who had already been freed, being re-enslaved. To reach his goal, Lincoln needed Republican party founder Francis Blair to garner support from the more conservative Republicans and support from Democratic congressmen, who would ordinarily vote against such an amendment. In order to acquire Blair’s support, Lincoln was forced to consider a peace conference with three political representatives from the Confederacy. And his Secretary of State, William Seward, recruits three lobbyists – William N. Bilbo, Colonel Robert Latham and Richard Schell – to convince lame duck Democratic congressmen to support the amendment.

I am surprised that the movie went through a great deal in crediting Doris Kearns Goodwin’s book as a major source for the movie. Very surprised. I own a copy of the book and know for a fact that only four-and-a-half pages are devoted to the Thirteenth Amendment and five-and-half pages are devoted to the Peace Conference with Confederate political leaders. If so little came from Goodwin’s book, where did Tony Kutchner receive most of his historical information for the movie? And if he did use other historical sources, why did Spielberg failed to credit other historical sources for the movie?

I recall watching the trailer for “LINCOLN” and found myself slightly repelled by it. As someone who had to endure a great deal of pompous and self-righteous dialogue in a good number of historical dramas, I noticed that the trailer seemed to be full it. Fortunately, the movie was only tainted by a few scenes featuring pompous dialogue. One of those scenes turned out to be Lincoln’s meeting with four Union soldiers – two blacks and two whites. Of the four soldiers, only the first black soldier – portrayed by Colman Domingo – managed to engage in a relaxed conversation with the President. The two white soldiers behaved like ardent fanboys in Lincoln’s presence and one of them – portrayed by actor Luke Haas – ended up reciting the Gettysburg Address. The scene ended with the other black soldier – portrayed by British actor David Oyelowo – also reciting the speech. Not only did I find this slightly pompous, but also choked with Spielberg’s brand of sentimentality, something I have never really cared for. Following Lincoln’s death, Spielberg and Kutchner ended the movie with a flashback of the President reciting his second inaugural address. I cannot say how the pair should have ended the movie. But I wish they had not done with a speech. All it did was urge me to leave the movie theater as soon as possible. Janusz Kamiński is a first-rate cinematographer, but I can honestly say that I found his photography in “LINCOLN” not particularly impressive. In fact, I found it rather drab. Drab colors in a costume picture is not something I usually look forward to.

The movie also featured a few historical inaccuracies. Usually, I have nothing against this if it works for the story. The problem is that the inaccuracies in “LINCOLN” did not serve the story. I found them unnecessary. Lincoln’s meeting with the four Union soldiers allowed Oyelowo’s character to expressed his displeasure at the U.S. Army’s lack of black officers and the indignity of pay lower than white soldiers. The problem with this rant is that before January 1865, the U.S. Army had at least 100 to 200 black officers. And Congress had granted equal pay and benefits to black troops by June 1864. Thirty-three year-old actor Lee Pace portrayed Democratic New York Congressman Fernando Wood, an ardent opponent of abolition. In reality, Wood was at least 52 years old in January 1865. Another scene featured a White House reception that featured a meeting between First Lady Mary Todd Lincoln and some of the Radical Republicans like Pennsylvania Congressman Thaddeus Stevens and Massachusetts Senator Charles Sumner. Kutchner had Mary face Senator Sumner with a warm greeting, before she deliberately cut him off to face Congressman Stevens. The movie made it clear that the First Lady disliked the Radical Republicans, whom she viewed as personal enemies of her husband. Yet, the manner in which she disregarded Senator Sumner was completely misleading . . . especially since the senator and the First Lady had been close friends since the early months of Lincoln’s presidency. In reality, Mary Lincoln’s political views were more radical than her husband’s. But due to her background as the daughter of a Kentucky slaveowner, most of the Radical Republicans viewed her as soft on abolition and a possible Confederate sympathizer.

Thankfully, the good in “LINCOLN” outweighed the bad. More than outweighed the bad. Recalling my original assumption that “LINCOLN” would turn out to be some pretentious film weighed down by boring dialogue and speeches, I can happily say that the movie’s look at American politics during the Civil War proved to be a great deal more lively. Yes, the movie did feature a few pretentious scenes. However, “LINCOLN” turned out to be a tightly woven tale about the 16th President’s efforts to get the Thirteenth Amendment passed by the end of January 1865. In many ways, the movie’s plot reminded me of the 2007 film, “AMAZING GRACE”, which featured William Wilberforce’s effort to abolish Britain’s slave trade during the late 18th and early 19th centuries. Unlike the 2007, “LINCOLN” proved to be more tightly focused and featured a more earthy and sometimes humorous look at American politics at play. One of the movie’s successes proved to be its focus on the efforts of the three lobbyists, whom I ended up dubbing the “Three Musketeers”, to recruit lame duck Democrats to vote for passage of the amendment. In fact these scenes featuring James Spader, John Hawkes and Tim Blake Nelson proved to be among the funniest in the film. The movie also featured the tribulations Lincoln experienced with his immediate family – namely the volatile behavior of First Lady Mary Todd Lincoln and his oldest son Robert Lincoln’s determination to join the Army – during this difficult period in which his attention toward the amendment’s passage. More importantly, the movie on a political situation rarely mentioned in movies about Lincoln – namely the political conflicts that nearly divided the Republican Party during the Civil War. Not only did Lincoln find himself at odds with leading Democrats such as Fernando Wood of New York and George Pendleton of Ohio; but also with Radical Republicans such as Thaddeus Stevens who distrusted Lincoln’s moderate stance on abolition and even his fellow conservative Republicans like Frances and Montgomery Blair, whose push for reconciliation with the Confederates threatened the amendment.

Now one might say that is a lot for a 150 minutes film about the passage of the Thirteenth Amendment. And they would be right. But for some reason, it worked, thanks to Spielberg’s direction and Kutchner’s screenplay. One, for a movie with a running time between two to three hours, I found it well paced. Not once did the pacing dragged to a halt or put me to sleep. “LINCOLN” also attracted a good number of criticism from certain circles. Some have pointed out that the film seemed to claim that Lincoln kick started the campaign for the amendment. The movie never really made this claim. Historians know that the Republican controlled U.S. Senate had already passed the amendment back in April 1864. But the Republicans did not control the House of Representatives and it took another nine-and-a-half months to get the House to pass it. For reasons that still baffle many historians, Lincoln suddenly became interested in getting the amendment passed before his second inauguration – something that would have been unnecessary if he had waited for a Republican controlled Congress two months later.

Many had complained about the film’s oversimplification of African-Americans’ roles in the abolition of slavery. I would have agreed if the film’s focus on abolition had been a little more broad and had began during the war’s first year; or if it had been about the role of blacks in the abolition of slavery during the war. Actually, I am still looking forward to a Hollywood production on Frederick Douglass, but something tells me I will be holding my breath. But with the movie mainly focused on the final passage of the Thirteenth Amendment, I suspect this would not have been possible. Some claimed that the African-American merely hung around and waited for the amendment’s passage. I would have agreed if it were not for Lincoln’s encounter with the Union soldiers at the beginning of the film; Lincoln valet William Slade’s day-to-day dealings with the First Family, and the film’s focus on Elizabeth Keckley’s attention to the political wrangling surrounding the amendment. One scene focused on Mrs. Keckley’s conversation with Lincoln on the consequences of the amendment and another featured a tense moment in which she walked out on the proceedings after Thaddeus Stevens was forced to refute his earlier claims about equality between the races in order to win further Democratic support.

Aside from my complaints about the movie’s drab photography, I can honestly say that from a visual point of view, “LINCOLN” did an excellent job in re-creating Washington D.C. during the last year of the Civil War. Production designer Rick Carter really had his work cut out and as far as I am concerned, he did a superb job. He was ably assisted by the art direction team of Curt Beech, David Crank and Leslie McDonald, who still helped to make 1865 Washington D.C. rather colorful, despite the drab photography; along with Jim Erickson and Peter T. Frank’s set decorations. And I found Joanna Johnston’s costumes absolutely exquisite. The scene featuring the Lincolns’ reception at the White House was a perfect opportunity to admire Johnston’s re-creation of mid 19th century fashion. I can honestly say that I did not find John Williams’ score for the movie particularly memorable. But I cannot deny that it blended very well with the story and not a note seemed out of place.

“LINCOLN” not only featured a very large cast, but also a great number of first-rate performances. It would take me forever to point out the good performances one-by one, so I will focus on those that really caught my attention. The man of the hour is Daniel Day-Lewis, who has deservedly won accolades for his portrayal of the 16th President. I could go into rapture over his performance, but what is the point? It is easy to see that Abraham Lincoln could be viewed as one of his best roles and that he is a shoe-in for an Oscar nod. If Day-Lewis is the man of the hour, then I can honestly say that Sally Field came out of this film as “the woman of the hour. She did a beautiful job in recapturing not only Mary Todd Lincoln’s volatile nature, but political shrewdness. Like Day-Lewis, she seemed to be a shoe-in for an Oscar nod. Congressman Thaddeus Stevens has been featured as a character in at least three Hollywood productions. In pro-conservative movies like 1915’s “BIRTH OF A NATION” (upon which the Austin Stoneman character is based) and the 1942 movie on Andrew Johnson called“TENNESSEE JOHNSON”, he has been portrayed as a villain. But in “LINCOLN”, he is portrayed as a fierce and courageous abolitionist by the always wonderful Tommy Lee Jones. The actor did a superb job in capturing the Pennsylvania congressman’s well-known sarcastic wit and determination to end slavery in the U.S. for all time. I would be very surprised if he does not early an Oscar nod for Best Supporting Actor.

But there were other first-rate performances that also caught my attention. David Strathairn did an excellent and subtle job in capturing the politically savy Secretary of State William H. Seward. Joseph Gordon-Levitt managed to impress me for the third time this year, in his tense and emotional portrayal of the oldest Lincoln sibling, Robert Lincoln, who resented his father’s cool behavior toward him and his mother’s determination to keep him out of the Army. Hal Holbrook, who portrayed Lincoln in two television productions) gave a colorful performance as Lincoln crony, Francis Blair. Gloria Reuben gave a subtle performance as Mrs. Lincoln’s dressmaker and companion, Elizabeth Keckley, who displayed an intense interest in the amendment’s passage. James Spader, John Hawkes and Tim Blake Nelson gave hilarious performances as the three lobbyists hired by Lincoln and Seward to recruit support of the amendment from lame duck Democrats. Stephen Henderson was deliciously sarcastic as Lincoln’s long suffering valet, William Slade. Lee Pace gave a surprisingly effective performance as long-time abolition opponent, Fernando Wood. And I was also impressed by Jackie Earle Haley’s cool portrayal of Alexander Stephens, Vice-President of the Confederacy.

As I had stated earlier, I was not really prepared to enjoy “LINCOLN”, despite its Civil War setting. To be honest, the last Spielberg movie I had really enjoyed was 2005’s “MUNICH”. And after the 2011 movie, “WAR HORSE”, I wondered if he had lost his touch. I am happy to say that with “LINCOLN”, he has not. Spielberg could have easily laden this film with over-the-top sentimentality and pretentious rhetoric. Thankfully, his portrayal of pre-20th century American politics proved to be not only exciting, but also colorful. And he had great support from a first-rate production team, Tony Kutchner’s superb screenplay, and excellent performances from a cast led by Daniel Day-Lewis. The Civil War had not been this interesting in quite a while.

List of Favorite Movies and Television Miniseries About SLAVERY

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With the recent release of Steven Spielberg’s new movie, “LINCOLN” and Quentin Tarrantino’s latest film, “DJANGO UNCHAINED”, I found myself thinking about movies I have seen about slavery – especially slavery practiced in the United States. Below is a list of my favorite movies on the subject in chronological order:

 

LIST OF FAVORITE MOVIES AND TELEVISION MINISERIES ABOUT SLAVERY

13-Skin Game

“Skin Game” (1971) – James Garner and Lou Gossett Jr. co-starred in this unusual comedy about two antebellum drifter who pull the “skin game” – a con that involves one of them selling the other as a slave for money before the pair can escape and pull the same con in another town. Paul Bogart directed.

 

 

9-Mandingo

“Mandingo” (1975) – Reviled by many critics as melodramatic sleaze, this 1975 adaptation of Kyle Onstott’s 1957 novel revealed one of the most uncompromising peeks into slave breeding in the American South, two decades before the Civil War. Directed by Richard Fleischer, the movie starred James Mason, Perry King, Brenda Sykes, Susan George and Ken Norton.

 

 

2-Roots

“Roots” (1977) – David Wolper produced this television miniseries adaptation of Alex Haley’s 1976 about his mother’s family history as American slaves during a century long period between the mid-18th century and the end of the Civil War. LeVar Burton, Leslie Uggams, Ben Vereen, Georg Sanford Brown and Lou Gossett Jr. starred.

 

 

3-Half Slave Half Free Solomon Northup Odyssey

“Half-Slave, Half-Free: Solomon Northup’s Odyssey” (1984) – Avery Brooks starred in this television adaptation of free born Solomon Northup’s 1853 autobiography about his twelve years as a slave in antebellum Louisiana. Gordon Parks directed.

 

 

4-North and South

“North and South” (1985) – David Wolper produced this television adaptation of John Jakes’ 1982 novel about the experiences of two American families and the growing discord over slavery during the twenty years before the American Civil War. Patrick Swayze and James Read starred.

 

 

6-Race to Freedom - The Underground Railroad

“Race to Freedom: The Story of the Underground Railroad” (1994) – This made-for-television movie told the story about four North Carolina slaves’ escape to Canada, following the passage of the Compromise of 1850.  Janet Bailey and Courtney B. Vance starred.

 

 

10-The Journey of August King

“The Journey of August King” (1996) – Jason Patric and Thandie Newton starred in this adaptation of John Ehle’s 1971 novel about an early 19th century North Carolina farmer who finds himself helping a female slave escape from her master and slave catchers. John Duigan directed.

 

 

8-A Respectable Trade

“A Respectable Trade” (1998) – Emma Fielding, Ariyon Bakare and Warren Clarke starred in this television adaptation of Philippa Gregory’s 1992 novel about the forbidden love affair between an African born slave and the wife of his English master in 18th century Bristol. Suri Krishnamma directed.

 

 

11-Mansfield Park 1999

“Mansfield Park” (1999) – Slavery is heavily emphasized in Patricia Rozema’s adaptation of Jane Austen’s 1814 novel about a young English woman’s stay with her rich relatives during the first decade of the 19th century. Frances O’Connor and Jonny Lee Miller starred.

 

 

7-Human Trafficking

“Human Trafficking” (2005) – Mira Sorvino starred in this miniseries about the experiences of an Immigration and Customs Enforcement agent investigating the modern day sex slave trafficking business. Donald Sutherland and Robert Caryle co-starred.

 

 

5-Amazing Grace

“Amazing Grace” (2007) – Michael Apted directed this account of William Wilberforce’s campaign against the slave trade throughout the British Empire in Parliament. Ioan Gruffudd, Benedict Cumberbatch, Romola Garai Rufus Sewell and Albert Finney starred.

 

 

12-Abraham Lincoln Vampire Hunter

“Abraham Lincoln: Vampire Hunter” (2012) – History and the supernatural merged in this interesting adaptation of Seth Grahame-Smith’s 2010 novel about the 16th president’s activities as a vampire hunter. Benjamin Walker, Dominic Cooper, Anthony Mackie and Mary Elizabeth Winstead starred.

 

 

1-Lincoln

“Lincoln” (2012) – Daniel Day-Lewis portrayed the 16th president in Steven Spielberg’s fascinating account of Lincoln’s efforts to end U.S. slavery, by having Congress pass the 13th Amendment of the Constitution. Sally Field, David Strathairn and Tommy Lee Jones co-starred.

 

 

kinopoisk.ru-Django-Unchained-2008617

“Django Unchained” (2012) – Quentin Tarantino directed this take on Spaghetti Westerns about a slave-turned-bounty hunter and his mentor, who sets out to rescue his wife from a brutal Mississippi plantation owner. Jamie Foxx, Christoph Waltz, Leonardo Di Caprio, Kerry Washington and Samuel L. Jackson starred.

“MIRACLE AT ST. ANNA” (2008) Review

“MIRACLE AT ST. ANNA” (2008) Review
Based upon James McBride’s 2003 novel and directed by Spike Lee, “MIRACLE AT ST. ANNA” told the story about four black soldiers of the all-black 92nd Infantry Division who get trapped near a small Tuscan village on the Gothic Line during the Italian Campaign of World War II, after one of them risks his life to save an Italian boy. The story is inspired by the August 1944 Sant’Anna di Stazzema massacre, perpetrated by the Waffen-SS.

Before I saw the movie, I came across a few reviews of the film. Needless to say, it either received mixed or bad reviews. Many critics either found the movie’s plot incoherent or seemed turned off by Lee’s message about the racism encountered by African-American troops during World II. After seeing the movie, I must admit that I also have mixed feelings about it.Personally, I had no problem with the plot. It started with a the murder of an Italian immigrant by a black U.S. Postal Service in December 1983. Due to the investigations of the New York Police, and a rookie journalist portrayed by Joseph Gordon-Levitt, the postal worker is revealed to be one of the four American troops who foundd themselves trapped near the Tuscan village. This same veteran is also discovered to have a piece of Italian sculpture in his possession. As I had stated earlier, most film critics found the plot confusing. Aside from certain scenes that I felt should have been deleted, the plot turned out to be perfectly coherent to me. What Lee did was take certain subplots that focused on the four troops, the inhabitants of the Tuscan village, the Nazi’s search for an AWOL German troop and a group of Italian partisans; and drew them together to form the finale of the movie’s mystery surrounding the veteran-turned-postal worker and the Italian sculpture. I must admit that aside from a few scenes, Lee did an excellent job in bringing this all together.And the director had a good, solid cast to help him bring this movie together. Derek Luke (“LIONS FOR LAMB” and “ANTWONE FISHER”) and Michael Ealy were especially impressive as the disciplined and tightly coiled Aubrey Stamps and the cynical and slightly bitter Bishop Cummings – who vie for the attentions of a local Italian woman named Renata, portrayed by Valentina Cervi. Laz Alonso gave a solid performance as the Puerto Rican corporal Hector Negron, forced to keep the peace between Stamps and Cummings. I was also impressed by Pierfrancesco Favino as Peppi Grotto, the leader of the local partisan group. Like many other child actors I have noticed in recent years, Matteo Sciabordi surprised me with an excellent performance as the young Angelo Torancelli, who befriends the four soldiers, while trying not to remember the horrible massacre at Sant’Anna di Stazzema. At first I was slightly wary about Omar Benson Miller’s performance as Sam Train, the private who first saves young Angelo in the film’s first half. He came off as rather raw and inexperienced to me. But further along into the film, his performance improved. And I realized that his performance had never been at fault. Only the screenplay written by author McBride. Miller had the unfortunate bad luck to slough his way through some pretty horrible dialogue, early in the film.Speaking of the dialogue, it turned out to be one of the aspects of the film I barely found tolerable. At least in the movie’s first half hour. I wish that Spike Lee had discovered this lesson a long time ago – never hire the author of the novel you are adapting to write the screenplay. Producer Dan Curtis had also failed to learn this lesson when he hired author Herman Wouk to write “THE WINDS OF WAR” screenplay. As much as I enjoyed how the movie’s plot developed, there were some scenes or pieces of dialogue I could have done without. For example:

*Axis Sally’s attempt to demoralize the black troops crossing an Italian river – despite the scorn heaped upon the dear lady by the black American and German troops alike, I must have spent at least five minutes squirming in my seat. Ugh!

*Private Train’s determination to convince his companions that the young Angelo is blessed with some kind of divine gift. Honestly, his dialogue drove me crazy. James McBride should have been ashamed of himself.

*Sergeant Stamp’s speech about the difficulties of being an African-American soldier during the war

*The flashback featuring the four soldiers’ encounter with a bigoted ice cream parlor owner in Louisiana.

The last two turned out to be perfect examples of another one of the film’s flaws – namely Lee’s heavy-handed portrayal of racism in the U.S. Army, during World War II. A part of me wishes that the director had watched Carl Franklin’s adaptation of“THE DEVIL IN THE BLUE DRESS” (1995). That particular movie was an excellent example of portraying racism in the past, without pounding in the message. Lee, on the other hand, overdid it. He allowed the message to get in the way of the story at least twice. When Stamps received a message from their Southern-born captain to capture a German soldier for question, this sends the usually obedient Stamps went into a rant about how black troops were treated. It was simply unecessary. Lee forgot another rule in filmaking – you show, not tell. He managed to do that with the troops’ dealings with their Southern-born captain. But he could not stop there. He and McBride also included the flashback in Louisiana . . . something that added nothing to the story’s plot. It felt like a propaganda piece added at the last minute by the filmakers.

Despite some of the bad dialogue, unecessary scenes and the ham-fisted message on racism, “MIRACLE AT ST. ANNA” turned out to be a better film than I had originally perceived. Although the film critics had been correct in some of their complaints, I found it hard to agree with them that the movie’s plot was incoherent. Even before halfway into the story, I understood what McBride and especially Lee were trying to achieve. I say . . . give it a shot. It might surprise you.