Lincoln

I remember fondly, Henry Fonda and Raymond Massey as Lincolns in "Young Mr.Lincoln" and "Abe Lincoln in Illinois" They gave remarkable performances. But, here and now in this extraordinary Steven Spielberg/Tony Kushner version, the illusion is complete. I was watching the president and not for a moment thought of the actor. That in itself is close to unique. I left the theater with the feeling I've just had an out of body experience. Everything around the central performance - and I call it a performance because I don't know what else to call it - falls into place in a miraculous way. The photography, the production design, the wardrobe made it possible to actually smell the period. Congratulations and thank you.

Daniel Day-Lewis is something of an unsung miracle; the man will come out of nowhere, select an unlikely role, knock it out of the park, then quietly crawl back into the ground for the next three or four years before repeating the same process. He is an underrated talent most likely due to his lack of a prolific career, somewhat like director Terrence Malick. Here, Day-Lewis teams up with one of Hollywood's most prolific men, Steven Spielberg, who is coming off a stellar 2011, where he produced both Super 8 and Transformers: Dark of the Moon and directed both The Adventures of Tintin and War Horse, two acclaimed pictures.

Spielberg mans the camera in one of the most exhilarating biopics in recent memory. Lincoln is a stunning humanization and coloring-book job of American politics, shedding a light on the skepticism and grayness of the government during that time. To simplify the story, Spielberg chooses to focus on the political interworkings of our sixteenth president's cabinet rather than the Civil War itself. It shows the long, grating process of amending the United States' constitution for the thirteenth time to abolish slavery and grant African Americans equality, and how that more than one men stood at the center of the action when the process was taking place, along with how he was incorruptibly confident that ending the practice of slavery will lead to ending the war.

While titled "Lincoln," we get several other characters with a fairly surprising amount of screen time. Among them are Joseph Gordon-Levitt playing Lincoln's oldest son, Robert Todd, Tommy Lee Jones playing Thaddeus Stevens, the fiery Radical Republican leader who is strongly passionate about abolitionism, Sally Field as the president's devoted wife, Mary Todd, and David Strathairn as William Seward, the secretary of state. It could also be said that at times Abraham Lincoln is not writer Tony Kushner's (who also penned Spielberg's Munich, unseen by me) prime focus, as much as it is the backroom deals of the 1865 congress and the political battles and obstacles each member faced when their morals and ideology came forth in abolishing one of the most inhumane acts ever allowed in the United States.

Daniel Day-Lewis is mesmerizing here, never overplaying or shortchanging Lincoln in one of his most reliable roles yet. Here, he seems much more cinematic than his previous works, and seems to be smitten with Lincoln's character and persona as he embodies him for one-hundred and fifty minutes. His voice is not stereotypically deep manly, and guttural as many other works have made him out to be, but reedy and poetically satisfying, boasting not much more than historical records claim. Day-Lewis is only assisted by the wealth of invaluable talent he is surrounded by, yet some of the most powerful work of his career comes out when Lincoln is reciting stories or parables to a group of bewildered, yet fascinated individuals who recall and cherish every word the man is saying.

One requirement upon seeing Lincoln is you must commit to two and a half hours of dialog and monologues from several characters about several different topics. One challenge faced by the filmmakers that is inherently difficult to overcome is the wealth of information, history, and knowledge of the period, and we see the struggle they face at attempting to sum it all up into a structured, disciplined film. I could've seen this as an HBO ten to fifteen part miniseries, elaborating on smaller characters, extending the work of the amendment, and even showing Lincoln's impact on a still vulnerable United States. But such an action may have proved too heavy for even history buffs.

With this film, there is a lot going on in terms of subtleties and there is a plethora of weight that rests on the film's script that at times makes this a challenging picture to watch. I'm reminded of my recent adventure to see the Wachowski's Cloud Atlas, and how that film was beautiful, striking, and increasingly ambitious, but also maddening and occasionally tedious. I wouldn't so much call Lincoln maddening or tedious as I would challenging to stay in-tuned with.

But that does not mean I couldn't see thousands of people emerging pleased and delighted with the film they just saw. This is a richly detailed and unsurprisingly intellectual picture that will go down as one of the greatest cinematic endeavors to ever focus on American politics. Kushner and Spielberg have gone on to make quite possibly the best film we'll ever see about the passage of an amendment through congress and the exhausting compromises and deals that go along with the process. Finally, I must note Spielberg's top notch use of subversive elements from Lincoln's voice, to the focus of the picture from a narrative point of view, to the inevitable conclusion that still leaves us impacted and shaken.

Starring: Daniel Day-Lewis, Sally Field, David Strathairn, Joseph Gordon-Levitt, James Spader, Hal Holbrook, Tommy Lee Jones, and Jackie Earle Haley. Directed by: Steven Spielberg.

I approached this film with caution and did so for several reasons. First and foremost, this is Oscars season and this type of film is just what one expects to come out and be showered with Oscar buzz – and quite often these films are found to be lacking once they are out of this period and on their own. The second reason was related and it was that I didn't for a second think that this film would be able to go for more than two minutes without the heroic music coming up, a soft focus being slapped on the lens and someone giving a great speech about the morality of everything while the camera cuts to those around looking teary eyed and yet full of admiration. In other words I worried that this would simply be a more expensive version of The West Wing season 1.

Although the film does rather fall into these traps occasionally, it is by no means seriously flawed since the majority of the film is patience and very well delivered. We focus on the final few years of Lincoln's life, specifically the period towards the end of the war where slavery was abolished by Constitutional amendment. As such the film is about political wrangling and the determination to stay the course with the goal even though it would be difficult and smart politics suggested to not risk the bigger prize (peace) at the expense of an aspiration. The film shows this very well and it manages to be patient without being slow – which is quite the achievement considering that the film is essentially men in rooms talking. The politicking was well delivered so that it wasn't dull but wasn't falsely sped up. The sentimentality is kept to a surprisingly low. It is still there of course and the camera frequently looks for a heroic frame and the music often reminds us the grandeur of what we are seeing, but it doesn't overdo it too much and certainly nowhere near the levels I feared.

Day Lewis is perhaps a given for the Oscar. His Lincoln is certainly a spot on creation – he comes over as heroic and steadfast without being mythicalised by his own performance. He really gives an impression of the man's spirit throughout the film. The supporting cast is so deep in names and faces that it is hard to know where to start; being honest, at times I did find it a little distracting as a parade came across the screen – seemingly all from TV shows I watch or films I had seen, I suspect I could be quite far down the cast list before I found someone I couldn't place. Aside from this distracting a little, it does mean the cast is deep in talent and everyone does well. Tommy Lee Jones in particular adds passion and color to all his scenes and the film benefits from his performance. Field is perhaps not as good – although in fairness I didn't think the personal side to the story worked as well as the rest – and since this is her parts, maybe that is why I didn't like her performance as much. Spielberg's direction is very well paced; shots are very well picked and the camera is very patient in its movement.

Lincoln didn't blow me away but it did quietly impress me. Part of the reason for this is that the film doesn't go all out for emotion or history or sentimentality, it simply lets it happen in the main and manages to keep these traps to a comparative minimum that really helps the film. It is long but never boring, respectful but never overly so.

The very mention of a Steven Spielberg project and everyone goes bug-eyed in excitement and curiosity; everyone from casual movie goers to mainstream critics to cinema house managers. Now reunite Spielberg with long standing producing partner Kathleen Kennedy, throw in a multi-award winning star cast lead by Daniel Day-Lewis and a story about one of the most revered Presidents in US history and you have an Academy Award nominated movie by default. Lincoln has all these fine qualities and a whole lot more. This is not just a great film for the reasons stated above, or because it is very easy to praise a film directed by Spielberg. This is also not just a masterpiece or a very important and powerful film for the sake of calling it so. From the drawing boards to its last take, Lincoln is every bit exquisitely fashioned filmmaking — an amalgamation of art, literature, politics, society, history, and most importantly, humanism.

Here's a brief re-cap to get you up to speed on the relevance of the American Civil War (1861 to 1865) as depicted in the film. The United States of America is divided as cotton rich states of the South refuse to phase out slavery. After Republican candidate Abraham Lincoln secures the Presidency, almost a dozen states in the South pull out of the 'Union' and become the Confederate States of America. As a bloody civil war rages between North and South, the film's story begins with President Lincoln's Emancipation Proclamation. This is the Commander and Chief of the armed forces calling for slavery to be abolished in all states by seeking a landmark constitutional amendment. For this to happen, Lincoln must procure enough votes through Congress for a stay order on making slavery illegal anywhere in America. Challenged with factions within his Republican party, Lincoln becomes his own worst enemy in a daunting personal crisis: save thousands of lives by ending the war or prolong the war in favour of ending slavery.

Running at 150 minutes, this film is a slow burner with extensive dialogues and frequent courthouse debates; but like the trudging power of a steam locomotive, Lincoln pushes forward with remarkable pace while never losing sight of its destination. Piloting this powerhouse of a film is Daniel Day-Lewis in easily his finest hour as a method actor. His Lincoln is tall and bent over with war-stressed fatigue and a shrill voice, but armed with a quiver full of wisdom and remedial anecdotes for when push comes to shove. Throughout the narrative Lincoln is torn within as he manages his duties as the President of a nation, as a father who has lost a son, and as a husband who must confide in his wife when decisions become complex. This is also when I must mention Sally Field in another fine delivery as First Lady Mary Todd Lincoln and the epitome of the phrase 'Behind every great man is a woman'. Field's Mary is a tragic character whose depiction of a bleeding heart is memorable in a scene where she confronts Lincoln as the father of their children, not a man with immense power. With strong characterisation forming the flesh and blood of the film, you can also expect riveting roles from Tommy Lee Jones and David Strathairn, besides a multitude of top actors.

This is one of the most important films of the year and perhaps even the times we live in. By its very making, Spielberg has written the greatest obituary for one of the greatest leaders of the modern world. Lincoln is to Steven Spielberg what Gandhi is to Richard Attenborough; the commonality being crucial moments in history, rather than a history lesson per se. If I have to nit-pick, I suspect there could be historical anomalies in the narrative if this film is solely considered a biopic. This is why I strongly recommend the film as a political drama rather than a componential biography. Is it safe to say that President Abraham Lincoln was a self-made man? That he was extremely intelligent despite dropping out of school? That he changed the future of an entire nation? That Barak Obama is the current President of the United States of America because Abraham Lincoln abolished slavery? If you said 'yes' to any of these questions then Lincoln is more than just an Academy Award magnet—it is a landmark film made by people reiterating that freedom is a birth right for people everywhere.

Lincoln (2012)

A highly polished, restrained, important movie.

That doesn't make this an exciting movie. The acting is terrific, and filming excellent (including a color saturation pulled back to give it an old look without seeming affected). It is clearly expert in the way we expect from Steven Spielberg above perhaps anyone, at least in the mainstream conventional sense.

But there are two things that make this movie a must see. One is the content. It's about one of the two or three most important things ever to happen in this country--the fight to end slavery during the Civil War. This is such powerful stuff it will make you weep. (If it doesn't, you'll have to ask why.) It's laid out as clearly and emphatically as possible while still keeping accurate.

The second thing is simply the overwhelming performance by Daniel Day-Lewis. It is so good you forget it's a performance (unlike, for example, his intensity in "There Will Be Blood" which stood out as a work of acting above the movie). Here he is so woven into the fabric of things he is indistinguishable from the historic truth, somehow. It's really the magic of the transparency of movie-making of this kind. Amazing performance.

It seems sacrilege to say this but the movie isn't perfect. Because of its material--getting the anti-slavery amendment through Congress--it involves a lot of talk, and a lot of people that you have to keep track of. I think Spielberg did this as good as it could be done, so no criticism there, but it does mean a lack of physical and even emotional drama through much of the film. I don't mean it's dull, just that it's conversational. I also found shreds of Spielberg's Frank Capra quality of making the movies--and his subjects--a little simplified. He ties up loose ends. He makes it all a fine package, very fine. Maybe too fine for what I would call high art. At times.

I think we'll have an easier time judging it in six months, or six years. Also the subject matter makes it almost unassailable, since clearly most of us are all for the passing of any anti-slavery legislation.

See this for all the reasons you have heard. Don't miss it. Maybe down a coffee before you go, but see it no matter what. As I say, it's important. It reminds you of greatness, and that's not something to miss.

UPDATE over one year later: I see that I accepted a lot of decisions by the writer and director as their prerogative, like focussing on one issue and narrowing to a short period of time. I had no bones with the scope of the movie. But in retrospect I see how the limitations of time and scope and background also create a sense of mis-information. That is, if you want a bigger picture of Lincoln, this movie is not quite right. Its aggrandizement is also not unavoidable, like the somewhat insipid (and yet moving) recital of the Gettysburg Address at the beginning by soldiers. Overall, though, I stick to my main thought--see it, and soak up what you can, without expecting perfection. Yes, see it for what it is, nothing less.