Amistad

Amistad

Steven Spielberg's most simplistic, sanitized history lesson, Amistad, explores the symbolic 1840s trials of 53 West Africans following their bloody rebellion aboard a slave ship. For most of Schindler's List (and, later, Saving Private Ryan) Spielberg restrains himself from the sweeping narrative and technical flourishes that make him one of our most entertaining and manipulative directors. Here, he doesn't even bother trying, succumbing to his driving need to entertain with beautiful images and contrived emotion. He cheapens his grandiose motives and simplifies slavery, treating it as cut-and-dry genre piece. Characters are easy Hollywood stereotypes--"villains" like the Spanish sailors or zealous abolitionists are drawn one-dimensionally and sneered upon. And Spielberg can't suppress his gifted eye, undercutting normally ugly sequences, such as the terrifying slave passage, which is shot as a gorgeous, well-lit composition. At its core, Amistad is a traditional courtroom drama, centered by a tired, clichéd narrative: a struggling, idealistic young lawyer (Matthew McConaughey) fighting the crooked political system and saving helpless victims. Worse yet, Spielberg actually takes the underlying premise of his childhood fantasy, E.T. and repackages it for slavery. Cinque (Djimon Hounsou), the leader of the West African rebellion, is presented much like the adorable alien: lost, lacking a common language, and trying to find his way home. McConaughey is a grown-up Elliot who tries communicating complicated ideas such as geography by drawing pictures in the sand or language by having Cinque mimic his facial expressions. Such stuff was effective for a sci-fi fantasy about the communication barriers between a boy and a lost alien; here, it seems like a naive view of real, complex history. --Dave McCoy

Director(s): Steven Spielberg
Production: Dreamworks Distribution LLC
  Nominated for 4 Oscars. Another 9 wins & 38 nominations.
 
IMDB:
7.3
Metacritic:
63
Rotten Tomatoes:
77%
R (Restricted)
Year:
1997
155
9,312 Views
Freedom is not given. It is our right at birth. But there are some moments when it must be taken.
A true story.

Roger Sherman Baldwin:
Cinque describes the cold-blooded murder of a significant portion of the people on board the Tecora. Mr Holabird sees this as a paradox. Do you, sir?

Captain Fitzgerald:
Often when slavers are intercepted, or believe they may be, they simply throw all their prisoners over board and thereby rid themselves of the evidence of their crime.

Roger Sherman Baldwin:
Drown hundreds of people?

Captain Fitzgerald:
Yes.

William S. Holabird:
It hardly seems a lucrative business to me, this slave trading. Going to all that trouble, rounding everybody up, only to throw them all overboard.

Captain Fitzgerald:
No, its very lucrative.

Roger Sherman Baldwin:
If only we could corroborate Cinque's story somehow with evidence of some kind.

Captain Fitzgerald:
The inventory. If you look, there's a notation made on May tenth, correcting the number of slaves on board, reducing their number by fifty.

Roger Sherman Baldwin:
What does that mean?

Captain Fitzgerald:
Well, if you look at it in conjunction with Cinque's testimony, I would say that it means this: The Tecora crew have greatly underestimated the amount of provisions required for their journey, and solved the problem by throwing fifty people overboard.

William S. Holabird:
I am looking at the same inventory, Captain, and I am sorry, I don't see where it says, 'Today we threw fifty slaves overboard', on May tenth or any other day.

Captain Fitzgerald:
As, of course, you would not.

William S. Holabird:
I do see that the cargo weight changed. They reduced the poundage, I see. But that is all.

Captain Fitzgerald:
It's simple, ghastly arithmetic.

William S. Holabird:
Well, for you, perhaps. I may need a quill and parchment, and a better imagination.

Captain Fitzgerald:
And what poundage do you imagine the entry may refer to, Sir? A mast and sails perhaps?

[While in prison awaiting Judge Coglin's ruling, one of the Amistad captives, Yamba, reads an illustrated Bible. Cinque looks over to him, conversing in Mende.]

Cinque:
You don't have to pretend to be interested in that. Nobody's watching but me.

Yamba:
I'm not pretending. I'm beginning to understand it. Their people have suffered more than ours... Their lives were full of suffering. [turns the page, showing an image of the newborn Jesus] Then he was born and everything changed.

Cinque:
Who is he?

Yamba:
I don't know, but everywhere he goes he is followed by the sun. [turns the page, showing Jesus healing the sick] Here he is healing people with his hands. [another page, Jesus protecting Mary Magdelene] Protecting them... [another page, Jesus with children] Being given children...

Cinque:
[sees a picture of Jesus walking on water] What's this?

Yamba:
He could also walk across the sea. [as he speaks, Judge Coglin kneels before a communion rail, praying] But then something happened... He was captured, accused of some sort of crime. [turns the page, showing Jesus before Pilate] Here he is with his hands tied.

Cinque:
He must have done something.

Yamba:
Why? What did we do? Whatever it was, it was serious enough to kill him for it. Do you want to see how they killed him? [Cinque nods, and Yamba turns the page, showing the Crucifixion]

Cinque:
This is just a story, Yamba.

Yamba:
But look. That's not the end of it. [shows the disciples taking Jesus' body down from the cross] His people took his body down from this... thing... this... [draws a cross in the air] They took him into a cave. They wrapped him in a cloth, like we do. They thought he was dead, but he appeared before his people again... and spoke to them. [shows the Resurrection] Then, finally, he rose into the sky. [turns to an image of Jesus ascending to Heaven, then to another to Heaven's light breaking through the clouds] This is where the soul goes when you die here. This is where we're going when they kill us. It doesn't look so bad.


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