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I should mention right now that I'm not a fan of biopics on principle, and the reason for that is simple, and on display particularly in Lincoln-if a story is true, and in this case very, very well-known, the surprise of what will happen is never in doubt. I don't need to include a spoiler alert that the North does indeed win the war, that the thirteenth amendment does indeed pass, and that Lincoln is assassinated, but remains a legend and beloved in the hearts of the people.
The film tries to build suspense by including subplots that we aren't sure about-which of the characters will be the deciding votes and which won't, but Spielberg denies us that suspense when he makes it obvious who will deflect from the Democrats and vote to abolish by casting famous character actors as each dissenter. What makes a movie like Argo better than Lincoln and even with my conflicted feelings about Spielberg's epic, I can tell you Argo is miles better, a statement that likely needs to be made since they are about to be mentioned together quite frequently with the Best Picture race heating up is that Argo has the ability to create suspense even with its known elements.
Even if you're familiar with the Canadian Caper, the smaller facts-will everyone make it, why did they escape when no one else did, how exactly do they get past customs? Lincoln doesn't have that luxury when it gives away one of the few question marks for the average moviegoer by casting famous people in every key role as if this isn't a somber historical epic, and instead it's more like It's a Mad Mad Mad Mad Civil War.
You half expect Jack Benny to show up as Robert E. Lee toward the end of the film! The film has two great assets, and aside from its formulaic lack of suspense, one more huge debit, so I'll cover those three before I turn the review over to you and your thoughts.
The first asset, and the most obvious, is Spielberg and Company. Even when Spielberg is at his worst which this is not, though it's certainly not his best , he is a master behind the lens, and is able to pull something from his actors and from his story to keep you interested. Familiar it may be, but it does become compelling at times, and in particular the opening scene is the sort of daunting, large cinema in which Spielberg specializes. The film is technically stunning and beauty, if sometimes a little too earthy in the cinematography for my taste Kaminski does so well with blue and fantastical, I wish Spielberg would tackle an A.
Artificial Intelligence once again. And Williams, my favorite, once again delivers a strong, majestic score to carry the film through some of its slower bits. The other great asset is the cast. You don't put Oscar-winners like Daniel Day-Lewis, Sally Field, and Tommy Lee Jones onto a screen together without something wonderful happening, and all three are excellent.
Day-Lewis, so inhabited in his character, seems to physically absorb the wear of a man who has carried the souls of thousands and thousands of young men on his back, crouching and feeling the weight of the world in his cragged face and his thin, bony fingers. Day-Lewis seems most comfortable with Lincoln the Saint, which is odd because he's historically so good at playing cunning, and doesn't quite know how to handle Lincoln when he's being a bit duplicitous, though perhaps that's becuase duplicity wasn't the historical Lincoln's forte.
Sally Field, as the "Mad" Mary Todd doesn't get the scenery-chewing that this role could typically embrace Spielberg seems intent on rehabilitating both Lincolns, and unlike the revered former president, Mary Todd could probably do with some rehabilitation , and therefore she gets to be a smart, savvy woman who can cut anyone down, who clearly is reeling with depression from the death of her son, and cunningly knows that she's the most powerful woman in Washington. You see in her actions and in the way she manipulates her husband the smart woman that some biographers have tried to exhibit her as, and Field, more than anyone else in the film, is clearly enjoying herself in this role, the best one in film in at least fifteen years.
Despite the fact that she has two Oscars, this is an actress constantly underestimated, and I really want to acknowledge Spielberg for giving this role to an actress who doesn't immediately come to mind. Jones is probably the male actor of the large casting list that has the best shot at getting in the Supporting Actor race, as his "liberal" Sen.
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