Kate Masur Works Remarkably Hard to See a Different "Lincoln" Than I Saw--and, I Would Argue, a Different "Lincoln" than Spielberg and Company Made

Kate Masur, edited:

[T]he film gives us powerful scenes of black men as soldiers… [to] demonstrate that African-Americans participated in the struggle for abolition…. [A]n early scene shows two black soldiers talking with Lincoln and then, with two white soldiers, reciting the Gettysburg Address…. [T]his scene lays out some of the stakes and possibilities of that historical moment…. Another scene in which stoic black soldiers on horseback stare down the Confederate commissioners…. [T]he scene references the dramatic changes in Southern life that the Civil War would bring….

[T]he scenes that feature soldiers… the first one showing intense hand-to-hand combat and the later one in which the audience views, with Lincoln, scores of soldiers lying dead where they fell… frame the film’s central concern: political deliberations in Washington. Violence, suffering, and death on the battlefield remind us of the stakes of Lincoln’s decisions…

Kate Masur, unedited:

Some critics argue that the film gives us powerful scenes of black men as soldiers and that these sufficiently demonstrate that African-Americans participated in the struggle for abolition. It’s worth acknowledging that there are black Union soldiers in Lincoln, though frankly, it would have been egregious if Spielberg’s vision of the military conflict in the winter of 1865 had not included them. In an appealing example of artistic license, an early scene shows two black soldiers talking with Lincoln and then, with two white soldiers, reciting the Gettysburg Address. I like how this scene lays out some of the stakes and possibilities of that historical moment. And the black soldiers’ speaking parts are probably longer and certainly more interesting than any other lines delivered by black characters in the film.

Another scene in which stoic black soldiers on horseback stare down the Confederate commissioners suggests more, I think, about the commissioners’ horror at black enlistment in the Union army than it does about the soldiers’ own agency. But I appreciate how the scene references the dramatic changes in Southern life that the Civil War would bring.

Even so, the scenes that feature soldiers—including the first one showing intense hand-to-hand combat and the later one in which the audience views, with Lincoln, scores of soldiers lying dead where they fell—mainly function to frame the film’s central concern: political deliberations in Washington. Violence, suffering, and death on the battlefield remind us of the stakes of Lincoln’s decisions and help us understand why he was (according to the film) tempted by the possibility of forging peace without emancipation.

As the political scientist Corey Robin wrote, this film de-centers Lincoln, giving us a cacophony of voices on the subject of abolition, but almost every one of those voices belongs to a white person. It is because the movie’s dramatic tension focuses on civilian life in general and on politics in particular that its creators’ failure to imagine the activities of black civilians is so disappointing.