Steven Spielberg must be very happy that his latest film will enjoy some packed houses for two months, as teachers all over the nation will sure to bring their students on a field trip to the multiplex, enjoying a good smoke break from the trials and tribulations of public service. And what a great and easy subject: the life of the 16th President of the United States of America in his last days, plus the discussion of how the 13th Amendment was adopted. Two birds with one stone for these teachers, especially since the resulting film is nothing more than a re-fried textbook told with boring pacing and decorum. LINCOLN is a satisfying movie but only as a showcase for its impressive actors. Beyond the arrogance of stuffy white politicians and the sincere speeches lies a wash of a production.
This is especially distressing considering Spielberg's own performance last year, making a one-two punch of excellent films. The audiences may have been drastically low but both THE ADVENTURES OF TINTIN and WAR HORSE were exceptionally well-made works, brimming with excitement and vigor. Of the two, WAR HORSE is the likely comparison for LINCOLN: a book adaptation, world history as a backdrop, Janus Kaminski, John Williams, and Michael Kahn still being employed, etc. Yet, all you receive after sitting through two and half hours is certainly a major case of diminishing returns. The cinematography is flat; sterile shots are often bathed in an attempt to realistically replicate the period's lightning scheme, only to be constantly cloaked in darkness and a mess of greens, tans, and grays. The music is a joke; Williams has just opened his refrigerator, took out some leftovers, mixed them with other banal pieces to craft a hokey mess that is often too on-the-noise during key moments. Except for the terrible musical placement, Kahn is the only one who at least gets to show some promise, or some well necessary humor, into the proceedings with his skillfulness.
However, the problem lies directly with the script by Tony Kushner. As stated, instead of a full life story, the film focuses heavily on the President, played by Daniel Day-Lewis, as he seeks the death of both slavery and the Civil War. More attention is paid on the former action, as accepting any plea from the Confederacy first would ultimately lead to the end of any such talks of freeing black men and women. Lincoln must accomplish this arduous task all in the short window before any of the newly elected officials of the House of Representatives take their rightful seats. He, his staff, and their hired-upon cronies must flip the votes of several Democrats by any means necessary: future job propositions, moral blackmail, intimidation, or even a paid visit to their residence by the President himself. And this is not even mentioning that he also needs to keep his own Republican party in check, making concessions with those who are sympathetic to the Southern plight (Hal Holbrook's Francis Blair) and those who want the law to lead to future racial equality (Tommy Lee Jones' Thaddeus Stevens).
This sounds like a nice display of down and dirty political warfare, and it does show it on the screen. Except of course for when other subplots take over the proceedings, like Lincoln's turmoil with his wife (Sally Field) and his war-seeking son (Joseph Gordon-Levitt). Or for when scenes go heavily too long, usually in the form of a Lincoln story, with plenty of reaction shots of ultra-innocent, anime like eyes and wide smiles to go around. Or for when it wants to examine the lives of the other politicians. I could go on and on with how overstuffed and underwhelmed this story comes together; for every tension charged moment or funny joke, there is generic soap opera or unintelligible metaphors. The script also heavily fails at overcoming the effort to hide the "surprise" ending from the conscious viewer. I never felt like there was any such danger for Lincoln or for America. But the real tragedy is the finale; after the cathartic climax, the film just continues on with a strange set of incompatible sequences, all before one of the most weary and perplexing endings I have seen this year. I once read an article with James Marsh, the director of the absolutely stellar documentary MAN ON WIRE, who was asked why that film didn't mention the fate of the Twin Towers in the film's post-script. He stated that it would be "unfair and wrong" to mention it, considering the overall objective of the film was to tell a story that was "incredibly beautiful". Kushner and Spielberg didn't take this note when making this film.
It may stink behind the camera but up front, the acting is the movie's saving grace. From the casting stage to the film's release, all of the attention rests upon the chops of two-time Oscar winner Daniel Day-Lewis. At first, it seems that Day-Lewis isn't really doing anything spectacle or deliciously outrageous, given that he's playing a President doled in immense power during his most stressful period. Except for a few moments of powerful external roars and dark intentions, he plays the man as a high-pitched Atticus Finch, a man who lives in a world of cynicism and misery yet still wants to seek justice and peace among man. Day-Lewis expertly handles the many speeches and stories, spinning them to be real crowdpleasers, all the while making little but intriguing acting touches with his facial muscles and hands. You get the sense of why Lincoln was a great speaker and charismatic with the people, even if the viewer, and merrily one army official, may be a little tired of hearing another story in a row.
The other actors in this impressively huge ensemble all make the most of it, even if their appearances come and go with the hectic script. Any leftover awards attention has gone to Tommy Lee Jones, who is humorous as the radical Thaddeus Stevens and dispenses some of strongest rebuttals towards his spiteful opponents. I was more blissful with James Spader's role as William Bilbo, a portly braggart who puts his life on the line trying to swing the slavery votes. Ditto for David Strathairn as Chief of Staff William Seward, Lincoln's right hand man who sadly disappears or is muted halfway through. Other highlights: Lee Pace, Jackie Earle Haley, Jared Harris, and Walton Goggins. There's more to include with more detail but it might spoil some of the surprise cameos. The acting truly shines perfectly bright. Too bad the rest of the film is a jumbled up circus.
FINAL REVIEW: 3 / 5
No comments:
Post a Comment