A penetrating portrait of a leader in crisis
A bearded wraith, his brow etched with deep grooves, skulks around in the dead of night. Tall and bent, his shoulders wrapped in a wool throw, he’s a chilling figure in a cold, dark house.
His house is the White House, and the wraith is Abraham Lincoln, 16th president of the United States. In Lincoln — Steven Spielberg’s penetrating portrait of a nation’s leader at a moment of epic crisis — Daniel Day-Lewis delivers an utterly extraordinary performance, his voice aquiver, his body angular but pliant, moving with a creaking, spongy gait down the corridors of the iconic residence on Pennsylvania Avenue. The Civil War has taken hundreds of thousands of lives. And Lincoln’s determined campaign to outlaw the trade in human beings (“If slavery is not wrong, nothing is wrong,” he wrote) is being thwarted by a recalcitrant Congress.
Lincoln begins with bayonets and mud and muskets, soldiers of the Union and the Confederacy in close, miserable combat, but for the most part, the action in Spielberg’s handsome piece of history is verbal, emotional, electric. With a screenplay by Tony Kushner, adapting Doris Kearns Goodwin’s Team of Rivals: The Political Genius of Abraham Lincoln, the film masterfully captures the dual dilemmas facing the president in the final months of his life: how to bring the war between the states to an end and heal a broken land, and how to eradicate slavery, once and for all.
And though his goals were lofty, the country-lawyer-turned-commander in chief was savvy enough to know that deals needed to be made, scores settled, patronage jobs promised, if he was to win over the anti-abolitionist Democrats in the House of Representatives.
And so, Lincoln is as much about the process of our political system — then, and (yes) now — as it is about the people who preside over it, who manipulate it, try to master it. This is one of Spielberg’s key achievements: that he introduces a gang of boisterous, contentious statesmen, pols, and lobbyists (William Seward, Thaddeuus Stevens, Edwin Stanton, Preston Blair ) and manages to keep track of who they are, and how they are allied with, or opposed to their president.
But Lincoln is also a human story, and Day-Lewis, armed with Kushner’s eloquent prose, brings his subject to life with grace, humor, and soul. The president was, by history’s accounting, a wild man of a storyteller, and there are wonderful scenes here where Lincoln veers off on colorful narrative jags, regaling soldiers, or telegraph operators, or members of his cabinet, or his wife, with metaphoric rambles whose implications are not always clear.
Perhaps it’s the alchemical way the actor gets under the skin of his character, but Day-Lewis’ channeling of Honest Abe makes everyone else’s job all the more challenging. Tommy Lee Jones, as the Pennsylvania “Radical Republican” Thaddeus Stevens, is up to the task, with his wrinkles and wigs and wry, watchful manner; Jared Harris makes a third-act appearance, puffing on a cigar and bringing a battleworn wisdom to the part of Ulysses S. Grant.
But Sally Field and Joseph Gordon-Levitt, as Lincoln’s wife and eldest son, never really get their footing. Field, especially, has trouble finding the center of gravity for the slightly loony Mary Todd Lincoln. And Gordon-Levitt, as Robert, the son who wants to enlist — but who is forbidden to do so by his personal commander in chief — broods and sulks accordingly. Yet this filial drama seems insignificant, somehow. Lincoln’s relationship with his younger son, Tad (Gulliver McGrath), is more credible and compelling — the president curls up alongside his sleeping boy on a rug in front of a White House fireplace, or watches as Tad surveys a collection of tintype portraits of slaves.
But never mind a few misguided casting choices; Lincoln is an exceptionally good film, elevated by a superhuman star turn, and by the energy and invention its director displays in telling a story that doesn’t rely on action and special effects.
Cast: Daniel Day-Lewis, Sally Field, David Strathairn, Tommy Lee Jones, Joseph Gordon-Levitt, James Spader, Hal Holbrook, John Hawkes, Jackie Earle Haley.
Director: Steven Spielberg.
Screenwriter: Tony Kushner.
Producers: Kathleen Kennedy, Steven Spielberg.
A DreamWorks Pictures release. Running time: 149 minutes. Brief war violence. Playing at area theaters.
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- 'Independence Day: Resurgence' is a crummy sequel (PG-13)
- In 'Sin Alas,' present-day Havana is haunted by the past (unrated)
- 'The Wailing' is a slow-burn freakout (unrated)
- 'Central Intelligence' is sharper than it looks (PG-13)
- 'Finding Dory' can't match the wonder of 'Finding Nemo' (PG)
- On the hunt for a murderer in 'Serial Killer 1' (unrated)
- 'Genius' explores a brilliant mind (PG-13)
- The haves and the have-nots go to war in 'Diary of a Chambermaid' (unrated)
- 'Sweet Bean' fills a void, with food and love (unrated)