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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Les Misérables

Posted on December 24, 2012 at 6:00 pm

Fair warning: I seem to be impervious to the appeal of “Les Misérables.”  I was not a fan of the stage show or the songs, but I understand that it is the most popular musical of all time, and I approached this movie version with an open mind.  My take is that it will make the fans happy, but I am still unpersuaded.

The musical is based on Victor Hugo’s vast novel about Jean Valjean (a magnificent Hugh Jackman), who served 19 years in prison for stealing a loaf of bread to feed his family and spends the rest of his life trying to do good and to avoid the relentless pursuit of Police Inspector Javert (Russell Crowe), who is trying to put him back in prison for violating his parole.

When Valjean is first set free, he is bitter and angry.  He repays the kindness of a priest who tries to help him by stealing valuable silver treasures from the church.  Immediately captured, he is returned to the priest (played by Colm Wilkinson, the foremost Valjean in the stage version).  But the priest insists that the items were gifts, and with the police watching, he encourages Valjean to take more.  Valjean is transformed by this compassion and generosity, and he vows to be as good, loving, and devoted to helping others as the man who cared for him.

Years later, Valjean, under another name, is prosperous and public-spirited.  He owns a factory and he is mayor of his town.  Fantine (a heart-breaking Anne Hathaway) works in his factory to support a daughter she boards with an innkeeper and his wife.  She loses her job because she refuses to sleep with a foreman and is forced into prostitution.  Valjean is horrified and feels responsible.  As she lies dying, he promises to care for her daughter, Cosette.

Valjean rescues Cosette from the corrupt innkeeper (Sasha Baron Cohen) and his wife (Helena Bonham-Carter).  But he has attracted the attention of Javert, and so he and Cosette must hide.  Ten years later, with Paris in the upheaval of a revolution, an idealistic young man named Marius (“My Week with Marilyn’s” Eddie Redmayne) sees Cosette (Amanda Seyfried) and instantly falls in love with her.  In the midst of uprisings and violent reprisals, Valjean tries to keep his promise to Fantine and keep Cosette safe and happy.

Production designer Eve Stewart has done a masterful job, making the setting as vibrant and as essential to the story-telling as any of the characters.  Director Tom Hooper (“The King’s Speech”) made a critical contribution by having the actors sing their parts while they were filming, instead of pre-recording them to be played back when the movie was being shot.  Since the movie is “sung-through” (all dialogue is sung rather than alternating speaking and singing), this gives the music a welcome organic quality and immediacy. Hathaway’s character is on screen for only a brief time, but her big number, the “I Dreamed a Dream” song memorably sung by Susan Boyle, is wrenching.  Hooper keeps the camera on her beautiful face, like the “Nothing Compares 2 U” Sinead O’Connor video, the better to feel her anguish, and it is a stunning moment.  Elsewhere, he over-does the artsy angles and sometimes assumes too much familiarity with the storyline.  Crowe’s voice is not up to the task and Seyfried’s is stretched beyond its capacity.  Newcomer to film Samantha Barks (from the London cast) as Eponine, the daughter of the innkeepers who also loves Marius, sings like an angel and lights up the screen.

It’s a long slog at nearly three hours, for a non-Miz-head.  But I came away with more understanding of those who are.

Parents should know that this is an epic story of struggle against oppression with disturbing and graphic abuse of prisoners and others, many characters injured and killed, sad deaths (including death of a child), and a woman accused of sexual misconduct and forced into prostitution.

Family discussion: How does the priest change Jean Valjean’s notion of what he should do? Why was Javert so conflicted? Why were the rebels willing to risk their lives?

If you like this, try: the PBS concert specials saluting the 10th and 25th anniversaries of the musical and the non-musical film versions

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The Hobbit: An Unexpected Journey

Posted on December 13, 2012 at 6:00 pm

B
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for extended sequences of intense fantasy action violence, and frightening images
Profanity: Some strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Extended fantasy violence and peril with swords and arrows, characters injured and killed, scary monsters
Diversity Issues: Diverse characters
Date Released to Theaters: December 14, 2012
Date Released to DVD: November 4, 2013
Amazon.com ASIN: B00E8S2JZ4

As the second in the Hobbit trilogy is about to be released, The Hobbit: An Unexpected Journey (Extended Edition).  Director Peter Jackson returns to J.R.R. Tolkien’s Middle Earth for this “Lord of the Rings” prequel, the adventure of young Bilbo Baggins, the hobbit we meet in the LoTR trilogy as the middle-aged uncle of the heroic Frodo.  We see many familiar faces, especially Ian McKellan as the wizard Gandalf, the sepulchral Christopher Lee as Saruman, Cate Blanchett as the ethereal Galandriel, Hugo Weaving as the regally gracious Elrond, and Andy Serkis plus CGI as Gollum, and the now-familiar but still marvelously eye-filling New Zealand locations.What is most different here is that Jackson has doubled the frames-per-second for a new hyper-clarity.  The 24 frames per second standard that has been in effect since the beginning of the sound era has been upped to 48, giving the film a depth of detail that is so fresh it can be a little unsettling.  We subconsciously associate the quality of light and focus with the video used for news programs and lower-budget sitcoms (think of the difference between the indoor and outdoor scenes in the old “Monty Python” episodes), so it can take a while to get used to it in a richly imagined fantasy, especially when close-ups reveal the pores of a character’s skin like a magnifying mirror at a department store makeup counter and the quality of light seems chillier and more sterile.  We get so much visual information that it takes a while to re-calibrate our ability to separate the meaningful from the superfluous.

It does not help that Jackson himself seems to miss the forest of the story for the literal trees.  Blowing out the shortest and most accessible of the books to a projected trilogy of nearly nine hours suggests that Jackson has fallen so in love with the project that he has lost touch with what it feels like not to be completely obsessed with it.  Of course, he is enabled by the intensity of the fans, who are famously dedicated to every leaf, twig, and Elvish declension.  But he seems to have lost track of the thread of the story and dulled his sense of how to communicate with those who are not as deeply involved with the story as he is. He glosses over the important discussion of Bilbo’s two competing heritages, one open to adventure, one devoted to home and hearth, which makes it hard to understand why he changes his mind about accepting Gandalf’s challenge.  Since it is a prequel, we are all familiar with the destructive power of the One Ring to Rule Them All, which makes it confusing when we see it 60 years earlier as a simple and benign invisibility ring.  Meanwhile, it takes all of 40 minutes before Bilbo leaves his house as what should have been a 10-minute scene about the unexpected arrival of a bunch of rowdy dwarves is expanded to include two different musical numbers.  And yet, it still does not give us enough of a sense of who the individual dwarves are.

The action scenes are filled with vitality and dynamically staged, but the film assumes a commitment and understanding on our part that it has not earned.  In a story about a quest of honor, that is an unexpected disappointment.

Parents should know that this film includes many battle sequences and scenes of peril, scary monsters, characters injured and killed, some disturbing images, smoking, drinking, and some potty humor.

Family discussion:  Why did Bilbo decide to join the adventure?  Why did Gandalf pick him?  Why didn’t Gandalf use his powers to help the dwarves sooner?

If you like this, try:  The book by J.R.R. Tolkien and the “Lord of the Rings” films

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