Glowing Book Review in New York Times

In this weekend's book section, the Grey Lady offers a glowing book review of a new volume considering Abraham Lincoln as a moral philosopher.  The book, Lincoln's Tragic Pragmatism: Lincoln, Douglas, and Moral Conflict was published by Harvard's Belknap Press in December.  Written by John Burt, a professor of English at Brandeis University (who appears to have rather broad academic interests), the 800+ page book revisits 1858 debates between Stephen Douglas and Abraham Lincoln, evidently filtered through the moral philosophy lens of more recent thinkers like John Rawls.

The review by Steven Smith, a political science professor at Yale, positively compares Burt's tome to the classic 1959 study of the debates by Harry Jaffa, Crisis of the House Divided.  He then goes on to show how each book draws upon different philosophers in considering the arguments of Lincoln and Douglas.

While this book may not be for everyone, those who are seriously interested in Lincoln's political arguments and intellectual legacy would seem to be a natural audience for this book.  And the strong review suggests that it will be well worthwhile.

Oscar, Oscar...

This morning, the Oscar nominations were announced.  As has been the case throughout the awards season so far, Steven Spielberg's movie Lincoln has received the most nominations and hype among this year's films.  As ABC News has it, "Lincoln Leads the Way...."

I have not yet seen all of the nominated movies, so I cannot hazard a completely informed prediction.  But the fact that the movie has been so well received -- if you had told me, before it opened, that the film would earn more that $100 million in less than a month, I would not have laughed at you -- suggests that it has surpassed expectations by a lot.  This is more influential during awards season, especially in competitive years, and bodes well for some very good nights ahead for the film.

There is also the possibility, explored in some of the media coverage, of an unexpected timeliness to Lincoln.  While every generation seems to appropriate Lincoln into their own time, the story of a president dealing with a big issue with a contentious Congress seems a morality lesson given modern frustrations with the federal government.  This has been noticed even beyond our shores, as in an article this week in the British newspaper, The Telegraph, which considers "The Lure of Lincoln."

How Accurate is Spielberg's "Lincoln"?

As I posted in my review of the new movie, I found the film to be amazingly accurate by Hollywood standards.  So I was intrigued to see comments on the film by two noted Lincoln authors, Matthew Pinsker and Allen Guelzo.

Guelzo's comments highlight some of the many accurate pieces of the film, including the spirit of Lincoln himself.  He is troubled by the "talkiness" of the movie.  Pinsker appreciates the movie, but is troubled by some of its inaccuracies and its simplification of history.

Both are generally correct in their assessments as historians, but I feel like they don't quite understand the possibilities and limitations of film.  Contrary to Pinsker, I am impressed by the sophistication of the storyline, which actually produces a fairly complete, if not fully nuanced, picture of the political realities faced by Lincoln.  In fact, I think this attempt at showing a more sophisticated picture, including the burden of the office beyond simply trying to pass the 13th Amendment, is why the film clocks in at well over 2 hours long.

Certainly there are inaccuracies in the movie, beyond conveniences like having Lincoln explicitly spell out to the Cabinet his underlying rationale for using the 13th Amendment to solve problems caused by executive assumption of war powers.  The Peterson House scene has significant problems in my mind -- the room is too big, Lincoln is in the bed wrong, Lincoln is dressed wrong -- and there is evidence that Lincoln handled military death cases in an established routine different from the late night reading depicted in the movie. 

But the film is hugely successful at exploring the nature of these people and the extraordinary time in which they lived.  While Pinsker is right to point out the confrontation between Lincoln and son Robert, I would argue that the scene is an accurate portrayal of certain key historical attributes -- the uneasy relationship between father and son, Lincoln's occasional flashes of temper (while Lincoln was notoriously lax in disciplining the children, there were exceptions, such as mistreatment of animals, that kindled his anger), Lincoln's defensiveness of Mary, to name a few.

Movie Review: "Lincoln" (2012)

After more than a decade of gestation, Steven Spielberg's bio-pic of Abraham Lincoln, based (as the credits say, "in part") on Doris Kearns Goodwin's best-selling book Team of Rivals, offers a sympathetic and humanizing portrait of the 16th President.  The 2 1/2 hour film, which takes place entirely during the final four months of Lincoln's life, focuses on the contentious debate in the House of Representatives over the proposed 13th Amendment to abolish slavery, including how it might affect efforts to encourage the Confederates to surrender.

Rather directly, the movie seeks to explore the man behind the monuments and myths.  Much like the famous Lincoln Memorial in Washington DC, where Daniel Chester French's massive marble Lincoln sits between full-text inscriptions of the Gettysburg Address and the Second Inaugural Address, Spielberg's movie opens with the war-time president talking with two African-American Union soldiers, who begin reciting the Gettysburg Address, and concludes with the last third of the Second Inaugural.

With these speeches and snippets of surrounding dialogue, screenwriter Tony Kushner bookends the film with the common schoolhouse portrait of Lincoln.  Between the famous words and their magnanimity, though, Kushner, the Pulitzer Prize-winning playwright whose previous film experience was scripting Spielberg's 2005 movie "Munich," breathes life into the mythic figure.  Through personal interactions with his family, encounters with common soldiers and citizens, and meetings with other government leaders and generals, Lincoln here is funny, passionate, beaten down, wise, cunning, and occasionally misunderstood and unapproachable.

Central to this is two-time Academy Award-winner Daniel Day-Lewis, who almost certainly will be nominated again for his performance.  In addition to the brilliant make-up artistry that makes Day-Lewis look uncannily like the often-photographed Lincoln throughout, the famously intense method actor inhabits the role fully, with wit, determination, quiet intelligence, weariness, and a surprising steadiness that manifests itself, intriguingly, in the ease of a man completely comfortable with himself in every situation he faces, whether political, military, or personal.  

Much will likely be made of the high voice Day-Lewis employs, especially by those who have heard actors portray Lincoln with rich baritone voices on television and in previous movies -- or even at Disney's Hall of Presidents.  However, Day-Lewis has relied on the surviving testimony about Lincoln's voice, which says that Lincoln had a high voice, sometimes almost squeaky, and spoke with a Western twang that always turned words like "scared" into "skeered."  (Personally, I think that the voice Day-Lewis uses is a bit more polished than I imagine from contemporary descriptions of Lincoln, but it is clear that the actor has skillfully crafted his performance from these descriptions.)

A key insight into Lincoln's character in this film, and the point at which the movie "Lincoln" is closest to the spirit of Team of Rivals, is that much is revealed through Lincoln's interactions with other equally strong people.  One of the many strengths of Kushner's fine screenplay is the character development of those around Lincoln, especially his wife Mary, son Robert, Secretary of State William Seward, and influential Republican patriarch Preston Blair, but also of other identifiable historic figures with less screen time.

Spielberg has cast strong actors to portray these many roles, and the ensemble gives consistently excellent performances.  While Tommy Lee Jones perhaps has the showiest supporting role as the outspoken Radical Republican Thaddeus Stevens, David Strathairn and Hal Holbrook (a portrayer of Lincoln himself on stage and screen) find authenticity as Seward and Blair, respectively.  The most surprising supporting performance, owing in equal parts to the strength of Kushner's script as to the acting, is Sally Field as Mary Lincoln.  Although she is too old for the character (which is noticeable given that most of the other actors are pretty close to the age of the historic figures they portray), she not only gracefully embodies the First Lady's contradictory personality traits, she demonstrates some of the gifts -- noticeably a passion, and relative skill, for politics -- that must have served as the foundation for the lasting, though sometimes stormy, marriage between Abraham and Mary Lincoln.

Such character details, too many to mention, are but one aspect of the depth of research evident in virtually every aspect of the film.  While there are a few mistakes and inaccuracies, the movie is overwhelmingly rooted in well-documented details -- a point made clear in the credits where more than a dozen noted Lincoln and Civil War historians are thanked for their assistance.  From the set design -- including an amazing recreation of Lincoln's White House office -- to the period music incorporated into John Williams' outstanding score to the frequent inclusion of contemporary-recorded comments in the screenplay to the  appearance, dress, and accents of the large supporting cast (even those with few lines), the film is consistently, and by Hollywood standards almost fanatically, accurate.

Even the feel of the movie points to this historical accuracy, which is a credit to Spielberg.  Unlike some films "based on historic events" that simplify characters and plot details for clarity, there is a complexity, even messiness, to "Lincoln" that evokes the turbulence of January 1865.  At times dialogue is overlapping or even muttered inaudibly, and there are disorienting, quick emotional shifts from the deadly serious to the ridiculous, as when yet another public reception painfully reminds both Lincolns of their son Willie's death during a previous formal White House dinner, but they must they must immediately happily welcome their guests in a receiving line.

With the usual top-notch production values of a Spielberg movie, added to Kushner's strong screenplay and the excellent acting ensemble headed by Day-Lewis, "Lincoln" is a remarkable film.  Despite its short time span, it has an epic vision of the personalities and circumstances surrounding the central figure.  And in the midst of those dramatic circumstances, it offers a compelling and vivid presentation of Lincoln the man, quirky and wise, compassionate and irreverent, and in some ways more impressive than even the marble statues.

Trailer Released for Spielberg's "Lincoln"

Earlier this evening, the official trailer for Steven Spielberg's long-awaited "Lincoln" premiered online (with a special online event featuring the director and Joseph Gordon-Levitt, who plays Robert Lincoln in the film).

Overall, it certainly looks impressive (and sounds impressive, with that sweeping music playing underneath).  I was pleasantly surprised at the scope implied by the trailer.  Previous films about Lincoln (with much smaller casts) always had a pretty quaint feel, but this is evidently an epic where dozens of important people will surround the president at the center of the storm.

Among the locations/events I could identify in the trailer, aside from scenes of Lincoln in the White House: Lincoln with the troops (probably in late March 1865), the fall of Richmond and Lincoln's subsequent visit, the Hampton Roads conference (led by Lincoln and Confederate vice-president Alexander Stephens), debate (over the 13th Amendment?) in the House of Representatives, the Second Inaugural Address, the surrender of Robert E. Lee (at which Robert Lincoln was present), and the War Department Telegraph Office.

Only one thing bothers me in the trailer -- but it is a big thing.  I'm not convinced that Daniel Day-Lewis has gotten Lincoln's voice right.  The descriptions of it that survive imply that Lincoln had a rather high-pitched voice and that he never really lost his Kentucky -- or frontier -- twang.  While the actor is certainly speaking in a higher range, I hear very little twang and very little of the slightly shrill quality sometimes ascribed to it.  (One newspaper report famously had Lincoln beginning a speech, "Meester Cheerman.")  Daniel Day-Lewis' approach sounds to me like a flat Hoosier accent, which does not match any of the contemporary descriptions of Lincoln's voice.  Hopefully this is too short a sample of dialogue in the trailer, but it concerns me because I had high hopes that the notoriously precise actor would offer a definitive performance.

[You can read more about Lincoln's speaking voice from Harold Holzer here.  He compares the description of Lincoln's voice to Kathryn Hepburn, which seems very a propos to me.]

Aside from this, though, I am pleasantly surprised by the trailer, which suggests that the project is more ambitious than I had imagined.  More than this, the focus on race implies that screenwriter Tony Kushner has perhaps crafted a narrative arc from the debate over the 13th Amendment to Lincoln's April 11 speech, in which he suggests granting voting rights to African-Americans who have served in the Union army and navy, which would offer a new perspective on the more often-told Lincoln stories.  I'm sure there will be a few more clues before the film is released in two months.

Yet Another Lincoln Movie?

Owing to my hectic summer schedule, and not having been in the mood, I have yet to venture out to see "Abraham Lincoln: Vampire Hunter," though I have finally obtained a copy of the book on which the R-rated thriller is based.  I imagine that I will be more anxious to see Steven Spielberg's long-awaited Lincoln biopic in December (a project that has taken about 15 years since he obtained the pre-publication movie rights to Doris Kearns Goodwin's "Team of Rivals").

Imagine my surprise today, though, when I came across this mention of yet another Lincoln-related movie.  According to movie-related chatter online, actress Diane Kruger, perhaps best known for her appearance in "National Treasure," has revealed that she will play Lincoln's step-mother in "Green Blade Rising," which will be produced by noted director Terrence Mallick.  Aside from the historically troubling statement that it will focus on Lincoln's Kentucky years -- and thus on a period before his biological mother Nancy died and his father remarried -- this seems like an interesting way to do a coming-of-age drama.  On the other hand, given the disappointing box office for "Abraham Lincoln: Vampire Hunter," I find it amazing that someone is willing to invest in a Lincoln movie that would seem, on its face, to have even less general appeal.

Book Review: The Global Lincoln

The Global Lincoln edited by Richard Carwardine and Jay Sexton (Oxford University Press, 2011), hardcover, 344 pages

William Lee Miller bookends his bestselling biography, President Lincoln, with an introduction and conclusion that focus on the global response to Abraham Lincoln. Miller contrasts the perfunctory greetings that Lincoln received from other heads of state when he assumed office with the more expansive condolences these leaders sent following his assassination. While Miller clearly believed that the changing tone offered a global appreciation, and even affirmation, of Lincoln's service as president, these chapters offered more questions than answers in my reading.

In a new way, after reading Miller's conclusion, I wondered if the global outpouring about Lincoln immediately following his assassination was a short-term emotional response or if it inaugurated Lincoln into the pantheon of noteworthy leaders, as it did in the United States. While Lincoln's cultural impact in the United States is fairly obvious, and has been the subject of many recent books, such cultural impact worldwide has been largely unstudied, especially outside of the British Isles. 

The Global Lincoln, a series of essays edited by Richard Carwardine and Jay Sexton, seeks to explore this very question. Growing out of a conference sponsored jointly by the Abraham Lincoln Bicentennial Commission and Oxford University in 2009, the book brings together the research of several historians on the legacy of Abraham Lincoln around the world. While fully half of the essays focus on Europe (and half of those specifically on the United Kingdom and Ireland), there are also intriguing essays on Lincoln's reputation and cultural impact in India, Africa, East Asia, and, intriguingly, the American South. 

The essays are a bit varied in their focuses. Some, like Harold Holzer's essay on the Lincoln image in Europe, build on previous work. A couple focus on Lincoln's specific impact during his presidency on Germany and Italy in one piece, and on Britain in another. Most, though, attempt a brief assessment on the Lincoln legacy over the last 150 years in specific countries or regions. In particular, essays by Vinay Lal and De-Min Tao on Lincoln's cultural impact in India and in China and Japan, respectively, are especially fascinating and provocative. 

In large part, the individual chapters reinforce each other -- and the conclusions of books on Lincoln's impact in the United States -- showing that the person of Abraham Lincoln has been a fairly tractable and malleable figure, useful in different ways at various times in various contexts, though with certain limitations. They also demonstrate that Lincoln has been adopted as a global statesman, recognizable and studied around the world. The limitations of this book are straightforward. As in any new exploration, only so much ground can be covered. At times, the individual chapters seem to be hopscotching through history; more frustrating, though, is that large swaths of the globe -- the continent of Africa and the continent and a half of Latin America -- receive only a single chapter each. 

Still, the overall strengths of The Global Lincoln far outweigh its limitations. The essays are strong, particularly those from well-known names in Lincoln/Civil War circles -- Richard Carwardine, Harold Holzer, and David Blight. And the project, long-overdue, invites the opening of new territory for future Lincoln and Civil War studies, namely the impact of this American crisis, and the examples of its key leaders facing that crisis, around the world.