Image: 20th Century Fox
Cinema audiences were transported from Dendy Quays to the austerity of the American Civil War earlier this month with a re-screening of Steven Spielberg’s Lincoln. This much-anticipated major release, timed to bring revenue from the theatres and accolades in the awards season, promises much. The project took Spielberg 12 years to realise.
It is no surprise that words are very important to this story. After all, Lincoln was renowned as a teller of stories to illustrate his views and decisions. It is fitting that the writer, Tony Kushner, has used much of the narrative drawn from Doris Kearns Goodwin’s well-respected book, Team of Rivals: The Political Genius of Abraham Lincoln.
Daniel Day-Lewis has just bagged yet another BAFTA leading actor award for the title role in Lincoln, which had been nominated in 10 categories.
Backed by the dream team of cinematographer Janusz Zygmunt Kamiński, editor Michael Kahn and composer John Williams, the storytelling is poignant and resonant with the theme of a nation coming of age. Historical detail is a hallmark of Spielberg’s work, and a huge cast of more than 170 are summoned for their characteristic look and sound.
This film is not without flaws, like the man it portrays, but it conveys the cries of freedom in the abolition of slavery. The opening scene has the soldiers recounting the Gettysburg Address to Lincoln (Daniel Day-Lewis). What a great device. It draws us in from the get-go.
War and abolition of slavery collide with Lincoln’s personal struggle – he lost his own son through illness. This brings an insight into the relationship with his wife Mary Todd played emotively by Sally Field. Strained and morose, she berates Lincoln for his dismissal of her emotional needs. They reconcile these struggles later in the story, after war has ceased and slavery has ended.
Contrasted with personal life, Lincoln’s relationship with his Secretary of State, William Seward, (David Strathairn) is also tense and hindered by miscommunication. There is frustration at Lincoln’s timing of judgement with those who work closely with him. His tales appear to misdirect decisions, but his mind is focussed on bringing resolution.
Perhaps the performance to rival Day-Lewis comes from veteran Tommy Lee Jones (perhaps you need three names to make an onscreen impression) as radical Republican Thaddeus Stevens. His gruff overbearing statesman wrestles verbally with politicians and with Mrs Lincoln, or as she prefers, “Madam President”.
Ultimately this film is about leadership modelled on the servant, even slave, status (Lincoln cleans his own boots). Day-Lewis’ portrayal champions small players in the drama – the message boy, the office clerk. All have an equal claim in Lincoln’s eyes to be a part of history.
