[Review: IN THEATERS] Lee Daniels' The Butler (8/10)

Save for a few liberties with history (its never quite as linear in our memories), Lee Daniels' The Butler is an important, glossy, Hollywood take on various civil rights issues. The history may be a little distorted for narrative purposes – it certainly evokes a range of emotions on Regan that have sparked a recent political debate – but what it does in showing this history is remarkable. Comparisons to Forrest Gump are warranted.

Forrest Whitaker is excellent as Cecil Gains (inspired by real life white house butler Eugene Allen) – a hardworking domestic who witnesses the public murder of his father on a cotton field. Taken in by the estate’s caregiver, played by Vanessa Redgrave, he’s trained to serve in the home. Through a series of tragedies he escapes the plantation and expands his skill as a server – working his way into the middle class. He’s becomes a server at a posh hotel, impressing a member of the Eisenhower administration; he’s called to the White House to join the domestic team.

Despite a team of color, the racism Gains faces are institutional (the African Americans are stuck at entry level, and are paid less). The demands of his career especially during the Kennedy administration almost tare his family apart – Oprah Winfrey plays his wife. Gains has two songs – Louis (David Oyelowo) who enrolls at Fisk University in Tennessee (instead of Howard) and Charlie who is loyal and obedient – interested in serving his country.

The film follows the events of history from the top to the bottom – Louis becomes a freedom rider after becoming formally trained in subversive peaceful protest. The scenes in the south represent a difficult reflection: if anything a film like Lee Daneils’ The Butler is an important reminder of what must not be forgotten. American is a great country but the sins of the past still haunt. Cecil has the privilege to front row and behind the scenes access as change happens slowly over multiple administrations – it speeds past Jimmy Carter, for example.

The performances by the actors playing presidents are secondary to Whitaker who gives an Oscar-worthy performance in a film that’s superb but not without flaws (kind of like the country it celebrates). They include Robin Williams as Dwight Eisenhower, James Marsden as JFK, Live Schreiber as LBJ, John Cuasak as Nixon, and Alan Rickman as Reagan. Perhaps only Rickman fully embodies and disappears into Reagan – the others are fine but seem more suited for a stage play.

Also excellent is Oprah Winfey as Gloria Gains – she flawlessly plays this women from her 30’s to her death from old age (and hard living). A more complex performance than I expected in a film that isn’t as cut and dry as the trailers make it out to be. Tugging at our heartstrings throughout, Lee Daniels’ hand as competent without his touches (including unrestrained, raw moments that a less confident director might have cut). Daniels, who has previously worked on smaller scale films like Precious and The Paperboy, proves he can make an epic period film. It’s a credit to his skill that we aren’t disoriented throughout the film – employing devices and storytelling craft to keep us engaged and in the moment (even with Cecil isn’t).

The film has been criticized as it celebrates the victory of Barack Obama including a framing device where Cecil meets with the (unseen) 44^th President of the United States. It’s an easy way out, for sure – and those that attack it say that a meeting between Obama and Allen may have never taken place. So what. This is excellent storytelling, with first-rate acting – in a film that might be glossy but is also very explicit in its representation of the civil rights struggle. I applaud Lee Daniels for making a multi-dimensional, multi-generational, and highly engaging picture.

 Screening: Dipson Flix, Dipson Market Arcade, Dipson Amherst, Regal Transit, Regal Quaker Crossing, Regal Elmwood, Regal Hollywood 12