Celebrate Abraham Lincoln’s Birthday!

Posted on February 12, 2013 at 8:00 am

Celebrate the birthday of our 16th President with some of the classic movies about his life.  Reportedly, he has been portrayed more on screen than any other real-life character.

 

 

 

 

Coming soon to theaters: Saving Lincoln.

http://www.youtube.com/watch?v=R-J3LhG46ZY

Still in theaters, you can see the Oscar-nominated Steven Spielberg epic, based on Team of Rivals: The Political Genius of Abraham Lincoln by Doris Kearns Goodwin, with Daniel Day-Lewis and Sally Field.

And on the National Geographic Channel, based on Bill O’Reilly’s book:

http://www.youtube.com/watch?v=fxiu2JtnZBw

On DVD:

Young Mr. Lincoln Directed by John Ford and starring Henry Fonda, this is an appealing look at Lincoln’s early law practice and his tragic romance with Ann Rutledge. Particularly exciting and moving are the scenes in the courtroom as Lincoln defends two brothers charged with murder. Both have refused to talk about what happened, each thinking he is protecting the other, and Lincoln has to find a way to prove their innocence.

http://www.youtube.com/watch?v=XcuUvtenx6w&feature=related

Abe Lincoln in Illinois Raymond Massey in his signature role plays Lincoln from his days as a rail-splitter to his law practice and his debates with Stephen Douglas. Ruth Gordon plays his wife, Mary.

Gore Vidal’s Lincoln Sam Waterston and Mary Tyler Moore star in this miniseries that focuses on Lincoln’s political strategies and personal struggles.
http://www.youtube.com/watch?v=sxrbIcXBYyY

Sandburg’s Lincoln Hal Holbrook plays Lincoln in this miniseries based on the biography by poet Carl Sandberg.

http://www.youtube.com/watch?v=_669ER2Gt34

 

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Based on a book Based on a play Based on a true story Biography Classic Epic/Historical Lists Politics

Hansel & Gretel: Witch Hunters

Posted on January 24, 2013 at 11:52 pm

Once upon a time, a brother and sister were left in the woods by their father.  They came upon a house made of candy that turned out to be owned by a witch, who used it to lure children and then fatten them up so she could eat them.  But the children outwitted the witch by shoving her in the oven.  The classic Grimm story is quickly dispatched in the first few moments of this fanboy fantasy so that we can get to the good stuff.  Hansel and Gretel, it seems, developed a taste for killing witches.  They grow up to be Jeremy Renner and Gemma Arterton, who haul their arsenal from town to town as something between bounty hunters, exorcists, and hitmen. And “Ghostbusters.”  It’s got special effects and some rocking fight scenes, and its cheeky anachronisms and brief running time (under 90 minutes) mean that it is over before the audience gets a chance to get tired of it.

There’s a lot of winking at each other and the audience.  A local fan of the duo (he has a 14th century scrapbook filled with their pre-Gutenberg news clippings) offers Gretel some porridge and assures her that it is not too hot or too cold but just right.  The local milkman delivers milk in bottles with drawings of missing children tied to them.  And the siblings have some Batman-worthy gear, including a device that draws electricity from a hand-crank, useful for zapping witches or, in a pinch, a bit of defibrillation.

Hansel and Gretel are hired by the mayor of a town where nearly a dozen children are missing.  The local sheriff (“Fargo’s” Peter Stormare) does not trust them and, more important, wants to stay in charge.  It does not help when Hansel tells the sheriff that the woman he is about to burn as a witch is not, and when Gretel head-butts him and breaks his nose.  He sends his own search party into the forest, but they are killed by a witch (Famke Janessen).  So, it is up to Hansel and Gretel after all, and it turns out that they have just three days before a “blood moon” will rise that gives the witches a rare chance to make themselves more powerful and much harder to kill.

The production design by Stephen Scott is imaginative and nicely varied, avoiding the trap of looking too Disney-fied.  The witches are eerily insect-like in their motions and sounds; there are moments when it feels like they are slightly more human-looking Predators.  Arterton and Renner look sensational in their tight, laced-up leather and handle the action scenes with a lot of verve.  It is silly, but it is entertaining.

Parents should know that the movie has intense and extensive fantasy violence with some graphic and disturbing images, including a medieval version of assault weapons, crossbows, knives, and a lot of throwing people around.  Human and witch characters are injured and killed.  Characters drink and use strong language and there is brief female rear nudity and a non-explicit sexual situation.

Family discussion:  Why didn’t Hansel want to talk about his parents?  Why did Gretel want to talk about them?  Why didn’t the sheriff trust them?

If you like this, try: “Stardust” and “Dragonslayer”

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The Abolitionists

Posted on January 21, 2013 at 3:59 pm

B+
Lowest Recommended Age: Middle School
MPAA Rating: Not rated
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Lynching, abuse
Diversity Issues: A theme of the series
Date Released to DVD: January 21, 2013
Amazon.com ASIN: B00A3THVGE

The new release from the PBS series “The American Experience” is a three-part story called “The Abolitionists,” the story of the fight to end slavery in the United States.  They were called radicals, agitators, and troublemakers. They thought of themselves as liberators. Men and women, black and white, Northerners and Southerners, poor and wealthy, these passionate anti-slavery activists fought body and soul in the most important civil rights crusade in American history. What began as a pacifist movement fueled by persuasion and prayer became a fiery and furious struggle that forever changed the nation. Bringing to life the intertwined stories of Frederick Douglass, William Lloyd Garrison, Angelina Grimké, Harriet Beecher Stowe, and John Brown, “The Abolitionists” takes place during some of the most violent and contentious decades in American history. It reveals how the movement shaped history by exposing the fatal flaw of a republic founded on liberty for some and bondage for others. Despite opposition and abuse, beatings, imprisonment, even murder, abolitionists held fast to their cause, laying the civil rights groundwork for the future and raising weighty constitutional and moral questions that are still with us today.  “The Abolitionists” interweaves drama with traditional documentary storytelling, and stars Richard Brooks, Neal Huff, Jeanine Serralles, Kate Lyn Sheil, and T. Ryder Smith, vividly bringing to life the epic struggles of the men and women who ended slavery.

http://www.youtube.com/watch?v=xU3RSqT76ic

I spoke to one of the historians who worked on the series, Dr. Manisha Sinha, Professor of Afro-American Studies and History at the University of Massachusetts, Amherst.

How did you get involved with this program?

I’m in the process of finishing a big book on the history of abolition from the revolution to the civil war. I was tapped for this series to be consulted on the script and be a sort of talking head for it.

One thing that I think is very hard for contemporary people to understand is that even among those who wanted to end slavery, there were many different kinds of views on the reasons for abolition.

Right at the outset it is important to distinguish between people who are sort of anti-slavery, who did not like the system of slavery for a variety of reasons, but who choose not to do much about it, versus the abolitionists, who devoted their lives to fighting against slavery.  If you want to look at the roots of the movement, you could go back to the Revolutionary era.  There were some outstanding Quaker individuals and African-Americans who fought for abolition and founded some early abolition societies, which resulted in emancipation in the North.

The people who we call abolitionists, they are the ones who came on in the antebellum period, which was 20 or 30 years before the Civil War, when you had people like William Lloyd Garrison, whose publication of The Liberator in 1831 is seen as the starting point of the formal abolition movement in the United States. Garrison of course, owed his inspiration to many of these early Quaker abolitionists, one of whom he served under as an apprentice.

Most importantly, he was very influenced by the black tradition of protest against against slavery and racism. That’s really important to remember. Garrison rejects the idea of Jefferson and later on even Lincoln, which was anti-slavery but wanted to colonize black people outside the United States.  What’s unique about Garrisonian abolitionists is that they adopt the African-American program of anti-colonization and black citizenship. If you looked at the roots of Garrisonian abolition, it very much lies in a long tradition of black activism of rejecting colonization and citizenship in this country. To that he adds what is known as Immediatism, which is the immediate abolition of slavery.

That’s when the movement starts taking off in the 1830’s that’s inspired by British abolitionists, who first came up with the idea of Immediatism. It’s inspired by these early outstanding Quakers who fought against the African slave trade and slavery supplemented by this long standing black tradition of protest that had its roots during the Revolutionary era.

I’ve always been very interested in the Grimké sisters. They were pioneering feminists as well as promoters of the abolition of slavery. To me that speaks to a very modern view of equality.

It does. In fact, you could say the abolitionists were well ahead of their time, because they’re fighting not just against slavery, but also racism. They fight against racial discrimination in the North and then they fight for women’s rights. Now of course, that becomes one of the issues that fractured the abolition movement.  There were many varieties of abolitionists. You had the Garrisonians, who were fairly radical in their rejections of all kinds of hierarchy, gender and race. You had Evangelical abolitionists, who really didn’t want to mix the question of women’s right with abolition. They thought they had one unpopular cause. They didn’t want to advocate another. Many of these abolitionists were also clergymen.

There were evangelical clergymen, who opposed having women stand up and speak in public like the Grimké sisters, most famously.  Of course, before that, an African-American women, Maria Stewart, had done that.  And before her, Fanny Wright who was an abolitionist and a workingman’s and women’s rights advocate had spoken out in public to what ware known as “promiscuous” audiences that included both men and women. These are the issues that started dividing the abolitionists.

By the end of the 1830s, we have different varieties of abolitionism. Some of these abolitionists became political abolitionists. Unlike Garrison, they felt that they could work through the political system to abolish slavery. Garrison saw the system that was very dominated by slave holders and by the Northern allies and realized that the fight for abolition would be a long and difficult one. He sort of said that the way for abolitionists to go politically was to agitate in the streets rather than to become part of political system that was corrupt.

The series emphasizes the economic basis of the pro-slavery advocates.  It was less a matter of philosophy than it was of money.

Exactly. There were a whole bunch of revisionist historians of the Civil War, who said, “The Civil War was not really a war about slavery. It was about the industrial North against the agrarian South. It was really economic interests that were divergent.” That is true that, that slavery gave rise to a distinct society in the South. In fact, the economic interests of Southern slave holders were quite complementary and in fact linked with that of Northern economic elite.

The people who started attacking abolitionists first were what we call “gentleman of property and standing.” Prominent leaders and the Democratic party were that time leading heavily toward the south. Also, economically others, including the lawyers and politicians, these are the people who led mob violence against abolitionists because they saw abolitionists as threatening these unions, these alliances between Northern capitalists and Southern slave holders.

A lot of work needs to be done on this, but we know that slavery was sort of a national economic interest. Slave-grown cotton was the largest item of export from United States before the Civil War, and its values exceeded the value of all other items of exports from this country, so this was a huge national economic interest that involved Northern banking, insurance, shipping.

It also involved Northern manufacturers.  The textile mills at Lowell were dependent on slave-grown cotton from the South. Northern manufacturers of clothes, tools, shoes, found a market in the South.  Economically, the North and South had complementary economies, not economies that were in conflict. These are the odds the abolitionist faced.  Slavery was entrenched in the nation’s political institutions, it was an enormous part of the nation’s economy.  To fight against that made the abolitionists seem like radical fanatics who are advocated women’s equality which was unheard of. They were really taking on big causes and they were fighting against the enormous odds.

Was the abolitionist movement really the first big American political initiative coming from the people?  Did it inspire later movements like the civil rights, the women’s movement, the labor movement, anti-war protests, and other reforms? 

That’s a great question. Abolition was the first truly radical social movement in this country. It was one of the first to be successful. It became a model for radical activists in later ages. Civil rights activists many times called themselves The New Abolitionists and called for a second reconstruction of American democracy referring back to Reconstruction after the Civil War. Women’s Rights, Second Way Feminism clearly had most of their heroines in this 19th century movement for women’s rights.

It is true that there are a lot of divisions within abolition and within women’s rights during the Civil War over issues of black suffrage and female suffrage.  But the fact remains ideologically, the abolitionists remain a source of inspiration. Even Eugene Debs, the head of the American Socialist Party, often pointed to the abolitionists as his inspiration. There were some populists in the Midwest, who looked up to the abolitionists, too. The abolitionists became a kind of a touchstone, because they are one of the few radical movements in this country that was actually successful at the end.

My husband and I stood in line for two hours on New Year’s Day, the 150th anniversary of the Emancipation Proclamation, to get a rare glimpse of it at the National Archives.  We have to remember it did not free all the slaves, though it was a very  important step.

The Emancipation Proclamation was an official document, a legal document, a military document, born in the midst of war. Its scope was modest, mainly because Lincoln wanted to issue a proclamation that could not be challenged Constitutionally.  He invoked his war powers to free the slaves only in the states that were in rebellion, because that’s what he could Constitutionally do as President.

Everyone knew that if the Union won the war, slavery would be dead in Mississippi and in Louisiana and South Carolina. If slavery was dead in those regions, there was very little chance that it could survive in the border slave states that were still in the Union and were not included in the purview of the Emancipation Proclamation. They had far fewer slaves and Lincoln had been pushing them on compensated emancipation since the start of the war.

The idea that it was not momentous, I think is false. Yes, its purview was demarcated for specific reasons, but the Emancipation Proclamation was a turning point in the war. It clearly linked black freedom with the powers of the federal government and the fortunes of the Union army.  In many respects, it was actually quite a revolutionary doctrine. No less a person than Karl Marx said that it made the Civil War into a revolutionary war for freedom.

 

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Django Unchained

Posted on December 24, 2012 at 6:00 pm

How do you solve a problem like Tarantino?

The prodigiously talented writer/director is a master of style, sensation, and a uniquely muscular kind of cinematic storytelling that builds on a stunning ability to mash up high and low art in a singular and wildly entertaining combination shot through with pure cinematic testosterone and filled with saucy variations on dozens of other films.

But then there is the content of the films, which it seems that Tarantino looks at as just another tool for jacking up a movie’s adrenalin.  In “Pulp Fiction,” there was the shock of a literal shot of adrenalin to the heart of an overdosing character and the frisson of hired killers whose biggest concern about blowing someone’s head off is the challenge of getting the blood off the car upholstery.  The purest expression of Tarantino’s art is in the “Kill Bill” movies, where he wastes no time on plot, just the minimum nod to the simplest and most relatable of  motives — revenge.

In “Django Unchained,” as in his last film, Tarantino uses an actual historic atrocity almost as an afterthought or a placeholder.  Like The Bride’s revenge motive, the Holocaust and slavery — and endless uses of the n-word by both black and white characters — are used to justify massive carnage, and, apparently, for no other reason.  With “Kill Bill,” the less we knew about the specifics of the reason for the revenge, the better.  With “Inglourious Basterds” and “Django Unchained,” we are already aware of the horrors that give the characters license to wreak destruction (artfully).  But it is, ultimately, empty.  Put another way: sound and fury, check.  Signifying: nothing.

Foxx plays the title character.  As the movie begins, slave dealers are marching a group of slaves in leg irons and with the scars of whip marks along their backs, through the wilderness.  A cheerful man with an elegant, cultured manner pulls up in a cart with a big tooth mounted on a spring.  He is passing as a dentist.  He cordially offers to buy a slave but when the brutish, dull-witted men refuse, and the first massive slaughter of the story is underway, and all the other slaves set free.  The man is Dr. King Schultz (Christoph Waltz, who won an Oscar as a Nazi for Tarantino’s “Inglourious Basterds”).  He is a bounty hunter who hunts down “wanted dead or alive” men and kills them to collect the reward.  In those pre-Google image search days, he needs Django to identify three brothers.  The information on the wanted posters is not enough for a positive identification.  He is opposed to slavery, so he makes a deal.  He will keep Django a slave only long enough to complete the job.

Django proves so adept at the bounty hunter business that Schultz offers to bring him on as a partner.  “Kill white people and get paid for it? What’s not to like?” Django replies.  Django wants to rescue his wife, Broomhilda (Kerry Washington).  When they tried to escape from their owner, they were separated and sold.  Schultz says that Django will not be able to do it alone, and promises to help him get her back.  Their travels take them through several different adventures and many nods and winks to other films (Franco Nero, the original Django, shows up in a brothel bar), including a completely hilarious scene with a bunch of proto-Klan types who can’t get the eyeholes right in their masks and some completely horrifying scenes with a slave torn apart by dogs and a seemingly endless “mandingo fight” to the death.  Broomhilda is now owned by a man named Candy (his plantation is called Candyland).  He is utterly corrupt and despicable, but even worse is his house slave (Samuel L. Jackson), because he betrays other slaves.

Tarantino gets top marks for style, as always.  The violence and historical reversals are possibly intended to be empowering (oddly, Broomhilda is surprisingly less powerful than the usual Tarantino female characters).  On the contrary, it is dispiritingly disrespectful to the people who suffered unspeakable atrocities.  And Tarantino’s increasing distance between style and substance grows less palatable with each film.

Parents should know that this film includes extremely brutal, graphic, bloody, and disturbing violence with many characters injured and killed, an extended fight to the death, whipping and torture, prostitutes, slaves, some nudity, and constant very strong language including many uses of the n-word.

Family discussion:  Why did Stephen tell Calvin his suspicions about Django?  How does this movie show the influences of spaghetti westerns, American westerns, and “Blazing Saddles?”  Any other inspirations?

If you like this, try: “Inglourious Basterds” and “Kill Bill”

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Action/Adventure Drama Epic/Historical Western
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