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) 44th
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.
