Hollywood has a sad history of dumbing-down movies about race (think of how the Oscars have rewarded movies like "Driving Miss Daisy" instead of "Do the Right Thing"). With one glance at "Lee Daniels' The Butler," you might think this is the case. Instead, we have a film that more or less plays it safe, but ultimately provides a compelling and moving story of bravery and the art of challenging the status quo.
Before I get carried away, I need to say that "Lee Daniels' The Butler" is a movie that will be nominated for everything, and the cast will easily be rewarded. Forest Whitaker has never given us a bad performance, and he continues that streak here as the main character. He plays Cecil Gaines, a successful butler in a hotel who is offered a job as butler to the White House. These are incredible achievements for Gaines, particularly considering that he escaped from a terrible environment headed by malicious crop farmers in Georgia. In his portrayal, Whitaker's performance is everything it needs to be. It's simple when required, yet simultaneously potent. Even small moments, like when he tells President Eisenhower that he did not go to school but instead grew up on a farm, are perfectly delivered. And Whitaker has great support from his other cast members. I'm sure Oprah Winfrey is proud of her extraordinary career on television, but if she had made a career in movies, she would easily be one of the greats. As Cecil's faithful yet bored and frequently drunk wife, she knows exactly the right notes to hit. She is powerful when she needs to, as during the tear-jerking scene in which she sends her son off to college, and humorous as well; what else could bring a smile faster to one's face than Oprah in 70s attire dancing to disco music?
Whereas the heart of this movie is a hard-working man and a witness to history, it's also a story about not only Cecil's troubled relationship with his oldest son, but also his absence in the house. This vacuum provides for a lot of drinking and smoking for Winfrey's character, Gloria, and her vulnerability to a drunk, womanizing neighbor, played by Terrence Howard. David Oyelowo (you might recall him in a very different role in "Rise of the Planet of the Apes") is the oldest son, Louis, who is almost insulted by his father's affection for the presidents he serves (and their, according to Louis, halfhearted and weak measures to push for civil rights). Whitaker is also joined by Lenny Kravitz (one of Daniels' stars in "Precious: Based on the Novel 'Push' by Sapphire") and Cuba Gooding, Jr. (in his best performance in years) as butler colleagues of Cecil's.
I imagine that a lot of the talk before, during, and after the film has centered on the portrayal of the presidents Cecil serves. I, like probably many others, was skeptical. There was an awkward laugh as Robin Williams first appeared as President Eisenhower, a role that provided him only several scenes and zero (intentional) laughs. But eventually, the audience bought it. But Severus Snape as Ronald Reagan? I adore Alan Rickman as much as everyone else, but perhaps this is the most miscast role. Still, for the most part, the players do an effective job, even if they don't look exactly like the presidents they play.
The film's politics is not necessarily visualized through the ideologies of the presidents portrayed, but by the criticality of its subject. This is a movie that understands the parallels between then and now, gently reminding its audience that while things have improved, we are not yet to the promised land. At first, it seems that it embraces the dumbed-downness I was worried about. It's somewhat annoying how "Lee Daniels' The Butler" employs the mythos of Americans' perceptions of their presidents: Richard Nixon, played by John Cusack, comes across as slimy and paranoid. John Kennedy, played by James Marsden, is youthful and boyish, while his vice president and successor Lyndon Johnson (Liev Schrieber) gives commands to his aides while on the toilet (and it's Cecil who has to fetch him his glass of prune juice). Ronald Reagan (Rickman) is a kind, grandfatherly man who asks Cecil to mail his letters with money in them to people who write explaining their financial struggles (but there's no mention of how Reagan often cut those struggling people's welfare benefits). So at its core, it seems like it embraces the very "see no evil, hear no evil" philosophy of its protagonist.
But the movie is actually much smarter than that. Screenwriter Danny Strong (who won an Emmy for writing the HBO movie "Game Change" about the 2008 presidential election; you may recognize him as an actor from "Buffy the Vampire Slayer" and "Mad Men") deserves credit not only for his creativity (the story is only loosely based on the real-life story of White House butler Eugene Allen) but also his powerful dialogue and characters. In some ways, his screenplay embraces the polite, soft version of history, that radicalism of all kind should be shunned. But he understands, for example, that there is no such thing as a good segregationist, for if they couldn't be on the right side of some of the simplest moral questions, how could they be right on anything else? Vanessa Redgrave's performance as young Gaines' mean old boss demonstrates this. When Gaines' father is shot, instead of seeking the law and making sure that justice was served, she orders the other black folks to dig a whole and, without hesitating after the gruesome act, assures young Gaines that she's now going to teach him how to "be a house nigger."
So this is not so much a film about politics but a film about history, one which is destined to be played in schools around the country, as it should. Teachers have a responsibility to show this movie to their students. I was a bit disappointed that there weren't more young people in the theater (though it was the second day back to school during the early evening, so I don't blame them for not being at that particular showing). The theater instead was filled with mostly elderly audience members, many of whom whispered to each other as they watched, probably reminiscing about the different historical events seen in the movie. (Say what you will about young whippersnappers in theaters texting, but at least they not only know that it's their phone going off, but they also know the actual procedure to turn them off.)
I haven't even mentioned the wonderful direction of Lee Daniels. With such an ambitious project on his hands with so many elements to juggle, it would be easy for any director to drop the ball. Daniels does not, and provides a worthy follow-up to "Precious." It's one of the year's best movies, and I greatly look forward to his next film.
Before I get carried away, I need to say that "Lee Daniels' The Butler" is a movie that will be nominated for everything, and the cast will easily be rewarded. Forest Whitaker has never given us a bad performance, and he continues that streak here as the main character. He plays Cecil Gaines, a successful butler in a hotel who is offered a job as butler to the White House. These are incredible achievements for Gaines, particularly considering that he escaped from a terrible environment headed by malicious crop farmers in Georgia. In his portrayal, Whitaker's performance is everything it needs to be. It's simple when required, yet simultaneously potent. Even small moments, like when he tells President Eisenhower that he did not go to school but instead grew up on a farm, are perfectly delivered. And Whitaker has great support from his other cast members. I'm sure Oprah Winfrey is proud of her extraordinary career on television, but if she had made a career in movies, she would easily be one of the greats. As Cecil's faithful yet bored and frequently drunk wife, she knows exactly the right notes to hit. She is powerful when she needs to, as during the tear-jerking scene in which she sends her son off to college, and humorous as well; what else could bring a smile faster to one's face than Oprah in 70s attire dancing to disco music?
Whereas the heart of this movie is a hard-working man and a witness to history, it's also a story about not only Cecil's troubled relationship with his oldest son, but also his absence in the house. This vacuum provides for a lot of drinking and smoking for Winfrey's character, Gloria, and her vulnerability to a drunk, womanizing neighbor, played by Terrence Howard. David Oyelowo (you might recall him in a very different role in "Rise of the Planet of the Apes") is the oldest son, Louis, who is almost insulted by his father's affection for the presidents he serves (and their, according to Louis, halfhearted and weak measures to push for civil rights). Whitaker is also joined by Lenny Kravitz (one of Daniels' stars in "Precious: Based on the Novel 'Push' by Sapphire") and Cuba Gooding, Jr. (in his best performance in years) as butler colleagues of Cecil's.
I imagine that a lot of the talk before, during, and after the film has centered on the portrayal of the presidents Cecil serves. I, like probably many others, was skeptical. There was an awkward laugh as Robin Williams first appeared as President Eisenhower, a role that provided him only several scenes and zero (intentional) laughs. But eventually, the audience bought it. But Severus Snape as Ronald Reagan? I adore Alan Rickman as much as everyone else, but perhaps this is the most miscast role. Still, for the most part, the players do an effective job, even if they don't look exactly like the presidents they play.
The film's politics is not necessarily visualized through the ideologies of the presidents portrayed, but by the criticality of its subject. This is a movie that understands the parallels between then and now, gently reminding its audience that while things have improved, we are not yet to the promised land. At first, it seems that it embraces the dumbed-downness I was worried about. It's somewhat annoying how "Lee Daniels' The Butler" employs the mythos of Americans' perceptions of their presidents: Richard Nixon, played by John Cusack, comes across as slimy and paranoid. John Kennedy, played by James Marsden, is youthful and boyish, while his vice president and successor Lyndon Johnson (Liev Schrieber) gives commands to his aides while on the toilet (and it's Cecil who has to fetch him his glass of prune juice). Ronald Reagan (Rickman) is a kind, grandfatherly man who asks Cecil to mail his letters with money in them to people who write explaining their financial struggles (but there's no mention of how Reagan often cut those struggling people's welfare benefits). So at its core, it seems like it embraces the very "see no evil, hear no evil" philosophy of its protagonist.
But the movie is actually much smarter than that. Screenwriter Danny Strong (who won an Emmy for writing the HBO movie "Game Change" about the 2008 presidential election; you may recognize him as an actor from "Buffy the Vampire Slayer" and "Mad Men") deserves credit not only for his creativity (the story is only loosely based on the real-life story of White House butler Eugene Allen) but also his powerful dialogue and characters. In some ways, his screenplay embraces the polite, soft version of history, that radicalism of all kind should be shunned. But he understands, for example, that there is no such thing as a good segregationist, for if they couldn't be on the right side of some of the simplest moral questions, how could they be right on anything else? Vanessa Redgrave's performance as young Gaines' mean old boss demonstrates this. When Gaines' father is shot, instead of seeking the law and making sure that justice was served, she orders the other black folks to dig a whole and, without hesitating after the gruesome act, assures young Gaines that she's now going to teach him how to "be a house nigger."
So this is not so much a film about politics but a film about history, one which is destined to be played in schools around the country, as it should. Teachers have a responsibility to show this movie to their students. I was a bit disappointed that there weren't more young people in the theater (though it was the second day back to school during the early evening, so I don't blame them for not being at that particular showing). The theater instead was filled with mostly elderly audience members, many of whom whispered to each other as they watched, probably reminiscing about the different historical events seen in the movie. (Say what you will about young whippersnappers in theaters texting, but at least they not only know that it's their phone going off, but they also know the actual procedure to turn them off.)
I haven't even mentioned the wonderful direction of Lee Daniels. With such an ambitious project on his hands with so many elements to juggle, it would be easy for any director to drop the ball. Daniels does not, and provides a worthy follow-up to "Precious." It's one of the year's best movies, and I greatly look forward to his next film.
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