Film Review: Free State of Jones (2016)

The most interesting part of this film is its subject matter, not the filmmaking itself. Matthew McConaughey plays Newton Knight, a medical orderly in the Confederate Army who deserts after learning that a new law allows the sons of the richest slaveholders to be excused military service. Knight returns to his home in Jones County, Mississippi, where he's hunted by the local Confederate militia. After they burn down his home, Knight hides out in a swamp with some runaway slaves. This becomes the nucleus of a guerilla group that eventually numbers in the hundreds and battles the local Confederate forces. Knight and his men end up controlling a significant swath of Mississippi and declare the "free state of Jones", a land dedicated to the principle of egalitarianism for all men, no matter what their colour. The war ends and the Reconstruction period is followed by brutal suppression of black political activism by the KKK and plantation owners. Knight takes a black woman as his wife after the war, and a sub-plot set in the 1950s shows one of his male descendants, who is one-eighth black, fighting Jim Crow laws for the right to marry his white fiance.

The earnest, plodding, clunkiness of this biopic feels, at times, like a throwback to film styles and tropes from the '50s and '60s. 12 Years a Slave and Glory are set in the same era, but they told their stories with subtlety and cinematic flair without diminishing the messages they wanted to get across. Jones has no time for artistry. Dramatic and romantic elements are handled like assignments for a required university course, and the action sequences are staged like pageants. One battle set in a graveyard actually borders on the farcical.

By this point you might think I didn't like this film. Wrong. What sets it apart from a Glory or 12 Years a Slave is that it's eager and willing to tackle issues that don't normally get an airing in American films, specifically the subject of class warfare. At several points in the film it's explicitly stated that the Civil War was primarily about plantation owners, the plutocracy of the South, defending their capital interests with the lives of poor whites. Most films about this period in history might have ended with the conclusion of the war. Jones continues its study of class politics with the Reconstruction period, which, as far as I know, has never been dealt with in any film. The film makes it clear that the efforts of the KKK and their capitalist supporters were directed at denying blacks political power because that kind of power meant a tidal shift in the relationship between capital and labour. All those notions about white Southern notions of "honour" and ''tradition" and fear of black violence were just hogwash. Whites were only interested in instituting a system of legal peonage to replace slavery. In this way Jones emerges as a superior film to Glory and 12 Years a Slave because the latter two films are dealing in honorable platitudes: racism are slavery were bad. This film brings something new to the discussion by showing how racism is so often a screen behind which politicians and capitalists practice their black arts.

Free State of Jones is a flawed film from a purely cinematic point of view, but as an examination of an often poorly understood part of American history it really has no equal. And lest you think that this subject matter isn't worth re-examining in this day and age, check out the interview below with legendary film director William Friedkin. From the 6:23 mark onwards Friedkin defends the birth of the KKK. It's jaw-dropping stuff, and this from someone who's from the allegedly liberal bastion of Hollywood.

Film Review: 12 Years a Slave (2013)

Here's who I really want to see this film: Quentin Tarantino and Steven Spielberg. The pair should be strapped into chairs, have their eyelids locked open a la Clockwork Orange, and be made to watch it over and over again until they begin screaming, "I get it! I get it!" The former will have learned that the history of American slavery is not a suitable subject for an action-comedy wankfest, and the latter will realize that a historical film about a grave and serious subject doesn't need to be buried under a pyroclastic flow of sentimentality, melodrama, bombastic music, and overripe production design.

12 Years a Slave is a harrowing true story about Solomon Northrup, a free black man living in Saratoga, New York, in 1841 who is kidnapped and sold into slavery in the South. Northup's story (the film is based on the book he wrote about his experiences) is filled with the historical tropes of American slavery--beatings, separation of families, sexual exploitation, rape, lynchings, and backbreaking labour. All of these crimes have been shown before in films about the pre-Civil War South, so don't be expecting to see something new on the subject of slavery. What makes this film so exceptional is its artistry.

Director Steve McQueen has made the brilliant decision to let the facts speak for themselves. The horrors of slavery are presented without undue emphasis or sentimentality. One scene early in the film shows a black mother being sold and thereby permanently separated from her two small children. It would have been easy to go the Spielberg route and turn the scene into something overblown, like an aria from a tragic opera, but McQueen lets the scene play out sans editorial comment, and it becomes all the more ghastly because it's underplayed. The director's restraint is even more evident at the end of the film when a single scene encompasses both Northrup's salvation as his white Northern friends find him and secure his release, and his parting from Patsey, a female slave who's the tormented concubine of her demented owner, played brilliantly by Michael Fassbender. Any other director would have dragged this sequence out for maximum emotional value, but McQueen positively whips through the scene and captures that bolt from the blue feeling Northup must have experienced. McQueen clearly made the decision that the facts of Northrup's enslavement needed no dressing up.

This is also a beautifully shot film. There's no sweeping camerawork, no overuse of filters to create gaudy sunrises and sunsets, there's just one beautifully composed shot after another. Like the script and the direction, the cinematography isn't trying to manipulate our emotions or hammer home plot points. And the same can be said for the music by Hans Zimmer, which sometimes has a jarring, almost science fiction-y sound to it that emphasizes Northrup's transition from freedom to slavery. The actors are all top-notch, although Brad Pitt's cameo felt more like a movie star doing a cameo than an actor tackling a role. And yet more credit for McQueen for his choice of Lupita Nyong'o as Patsey. She's beautiful, but most directors would have chosen a more conventionally attractive actor for the role, and they certainly would have played up her looks to explain why she becomes her owner's sex slave. So, needless to say, this is my choice for best film of the year, and I might have to rate it as one of the best films of the last ten years. That it should have to face off against trash like American Hustle and The Wolf of Wall Street for Oscars is a tragedy of another kind.