Review: Lincoln

For a Spielberg movie, there’s one thing that’s distinctively un-Spielbergian here; there lacks any monumentous set pieces or grandiose scenes. The film opens strongly with a group of four soldiers, two white and two black, reciting the famous Gettysburg Address to the stoic figure, exemplifying the ubiquitous influence Lincoln had on the nation- but otherwise, no famous speeches are recited by Day-Lewis. Rather, contrary to the all-encompassing title, Lincoln focuses strictly on the president’s campaign to end the war by implementing the 13^th Amendment and the political drama that ensues. Other than the moving introduction exemplifying the power of said historical moment, Lincoln is fairly straight-forward from there on out, for better or for worse.

There’s particular relevance that Lincoln has relative to modern history, one obvious, one not so. The obvious comparison is to the current struggle of LGBTQ (and immigrant) civil rights within the United States and the politicization of human rights being left to be decided by those who are unaffiliated. More interesting is the presence of party politics regardless of personal opinion on individual issues- in Lincoln, it is evident how even the 1800’s there was a sheep-like following to partisan politics not unlike the current political climate of Republicans versus Democrats.

It’s a faithful and reverent retelling of American history, one of the proudest moments of it, and the men and women who were involved. In an era where Spielberg is unreliable as an epic director, Lincoln surpasses most of his recent mediocre work (with the exception of the explosive Munich). But how much of this is the responsibility of Spielberg, and how much relies simply on a dear story and a powerful performance?

While Lincoln dives deep into the layered struggle of the courtroom tension of the Civil War, I felt like I was watching a play. Spielberg’s directorial style is antiquated, to say the least- everything looks and feels like it was shot on a backlot, with actors in tailored costumes reciting bold yet unrealistic pontifications throughout the feature. Many times I tuned out because the dialogue was, to say the least, self-indulgent. This decidedly old-fashioned Hollywood approach that Spielberg takes isn’t in line with how we perceive Hollywood dramas today- sharp, realistic, and immersive. There’s a particular separation, I didn’t feel the spirit of the material, but was captured by the historical relevance of what was at hand.

At first I thought that I wasn’t engaged because of an overwhelming familiarity with the story, but upon reflection, Ben Affleck’s brilliant Argo is spelt out from the beginning- a rescue mission- but was still a taut and gripping political thriller. There are moments when Lincoln rises to the occasion and is entertaining, but nothing as inspiring as the events being told. To be blunt, the sentimentality feels forced.

But Daniel Day-Lewis is without a doubt perfect. The great American actor who only appears once in a blue moon SHOULD be recognized each time he graces the screen because he approaches the material with the dedication of an artist. He was made for the role, and performs it with a breath-taking candor. He conveyed the struggles of the president well, but made it apparent why he was so beloved. The soft understanding in his facial expressions never leaves, but is compounded with a rigorous dedication to achieving justice. Still, no one else rose to the occasion quite like Day-Lewis. Joseph Gordon-Levitt does well as his son wanting his own glory in civil rights, Tommy Lee Jones as Thaddeus Stevens was moving but felt like a Tommy Lee Jones caricature, and Sally Field as Mary Todd was competent. Perhaps the source material allowed for no one to seek depth other than Day-Lewis- the way their relative plot “messages” were forced down the viewers throats in the final act demonstrate so- but I felt that every character other than Honest Abe was negligible.

But I shouldn’t discount the overall value of the movie. It’s a good retelling of one of the proudest moments of our nation that will surely inspire some patriotism within the viewer. Spielberg made the interesting decision to hone in on a specific period, and when he’s within it, the movie works. The climax and the subsequent 40 or so minutes that follow, really detract from the movie hitting home. Lincoln is an old-white-people crowd-pleaser that’s lighting the box office up because of big-studio money, star power, and a phenomenal story to boot which is where a lot of my negativity stems from. At the end of the day, Lincoln is a decent movie- just not the best of what’s out there.

Grade: B-