Lest I be accused—as I already have been—of imposing some kind of PC orthodoxy on a piece of mass entertainment, or of applying an anachronistic standard of inclusion to a film that marches under the banner of fidelity to historical truth, let me reiterate one point and add two others. Emancipation was not a white man’s affair. It was a multiracial affair, in which blacks, slave and free, played a central role. Spielberg and Kushner are not being faithful to the historical record; they are distorting it. Not by lying but by constructing the field glasses through which they would have us look at, and misperceive, the past.
Aaron Bady will be blogging about the film, too, so I don’t want to steal his thunder. But he’s dug up two interesting factoids that are relevant: First, Spielberg was originally thinking of making a film about the relationship between Lincoln and the black abolitionist Frederick Douglass. This is a topic that has generated a large and growing literature. Spielberg opted not to go that route. Second, though Spielberg chose to base the film on Doris Kearns Goodwin’s “Team of Rivals”, he decided essentially to use three pages from the book as the basis of his story. It was his decision to focus on the few months that led to the passage of the 13th Amendment in the House.
These unforced choices—his choices—effectively precluded the inclusion of blacks as political agents in their own right. It was not the constraints of history or genre, in other words, that produced this film; it was the blinkered vision of Steven Spielberg.
- From “Steven Spielberg’s White Men of Democracy,” by Corey Robin
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