I posted a few months back on how I have re-thought the War Between The States and now view it as a mortal blow against the Constitution and the voluntary Union it signifies. Within that post I mentioned that Steven Spielberg was coming out with a new movie about Lincoln based on the work of plagiarist Doris Kearns Goodwin, leading me to opine that the movie would be apocryphal. Having recently watched the movie, I can easily conclude that I was correct and that the movie represents myth-making of the highest (or lowest) order.
The entire plot of the film fuses Lincoln with the 13th Amendment (abolishing chattel slavery), showing his dogged efforts to get it approved in the waning days of the war. Lincoln makes the Amendment of utmost importance, the idealistic goal to which all other considerations are negotiable and pale by comparison. This is, of course, completely backwards because Lincoln always treated slavery as negotiable and the Union as the paramount goal; at most, slavery provided idealistic cover for Lincoln to destroy the federation and forge a nation through "blood and iron," just as Bismark would later do with Germany. Consider that in his first inaugural address Lincoln touted the original version of the 13th Amendment, which PRESERVED slavery as inviolate where it existed and was meant to assuage the South. The South could keep its slaves, he said, so long as the South respected federal authority in all respects (particularly the collection of taxes, no surprise). After the war commenced, Lincoln repeatedly treated abolition as a negotiable tool to achieve his objective of forcible Union and a strong central government, telling Horace Greeley that if he could preserve the Union without
freeing a single slave he would do it. As late as the Hampton Roads
Conference in 1865 he was willing to compromise on slavery if
the Confederacy would lay down its arms, whereas the movie shows him
steadfastly informing the Confederate delegation that slavery must be
abolished whether they liked it or not. The entire premise of the movie
is thus a lie.
Smaller lies, omissions, and affronts dapple the movie throughout.
Lincoln asserts to a female ex-slave on his staff that after abolition he supposes he will get used to sharing the country with blacks. Yet Lincoln always had advocated for blacks to be re-colonized to Africa and stated on several occasions that he opposed social equality or sharing the country with them.
A sympathetic and compelling character played by Hal Holbrook labels Southerners as "traitors," yet Article III, Section 3 of the Constitution states that "Treason against the United States, shall consist only in levying War against them, or in adhering to their Enemies, giving them Aid and Comfort." When the southern states departed from the Union they had voluntarily entered, this was not treason. When the federal government made war on those states and their men, women, and children to prevent their departure, that was treason of the worst sort. When the South fought to repulse the invaders -- not to conquer Washington, mind you -- this was legitimate self-defense.
The movie idealizes Thaddeus Stevens, a despicable man who gleefully heaped military rule and abuse on the South during Reconstruction, and who engineered the impeachment of President Andrew Johnson for the latter's naive belief that the Constitution was the supreme law of the land and dictated relations with all states, Northern and Southern, regardless of the scars of war. In a key moment, Stevens compromises his supposed idealism by claiming to Congress that he supports only equality before the law, not total social equality. This scene is offered to show the importance of incrementalism and compromise, yet it is bone-chilling to consider that social equality is presented as idealistic at all. Social equality is completely incompatible with liberty, for liberty always produces unequal results. Only massive government force and repression can bring about social equality, which is equality of suffering and squalor (except for those in government, of course). When pushed by his congressional antagonists to explain his newfound belief in mere legal equality, Stevens argues rather eloquently that equality before the law protects even them, whom he characterizes as subhuman. In this sense the movie briefly contradicts itself, showing that legal equality indeed is the only kind compatible with liberty, but the overall message remains a sermon that the 13th Amendment was simply a first step and that much work remains to be done even now to make Stevens' utopia come true.
Lincoln's younger son is presented as a vehicle through which the audience may agonize over the brutality of slavery, since he constantly stares at photographs of tormented slaves and asks about their plight. This is grotesquely disproportionate when considering the needless death, pain, and destruction inflicted by the war.
Lincoln is shown as extremely popular, yet he was one of the most unpopular presidents ever during his tenure. This makeover appears at the very beginning of the movie with anachronistic dialogue by a group of soldiers who already have committed the Gettysburg Address -- which was panned by its contemporaries -- to memory and who proceed to recite it, displaying a reverence of the sort only a century and a half of government schooling has managed to instill in the popular mind. Lincoln's mentally unstable wife, who receives a sympathetic portrayal in Sally Field, overtly states several times to Lincoln and others that he is universally loved. Yet the election of 1864 was very much in doubt, so much so that the Republican party temporarily ceased to exist and re-named itself the Union party so as to include Democrat Andrew Johnson on the ticket and broaden its appeal. Lincoln himself doubted whether he would win. His Democratic opponent, former general George McClellan, garnered 45% of the popular vote. Perhaps the only reasons Lincoln won were the speedy creation of three new states (Kansas, West Virginia, and Nevada), generous furloughs for troops around the time of the election, and the presence of such troops at many polling places to intimidate people into voting for Lincoln.
When confronted with a brief recitation of his illegal actions, Lincoln excuses them by saying that the people still chose to re-elect him, which supposedly makes everything hunky dory. Election irregularities aside, this dialogue embraces lawless tyranny and invites the audience to believe that any transgression against life, liberty, and property is okay if only the majority approves it. Once again, this helps illustrate my point that the war helped establish a far worse form of slavery than had previously existed, for boundless mobocracy is indeed what most people today appear to believe (if anything).
At the end of the day, this film is a myth-making project whose goal is to deify the state and make Americans understand that only through government planning and violence can they truly be free. Lincoln becomes the Jesus Christ of our modern paganism, a martyr who gave his life to pay for our sins and save the world. This is apt because Lincoln himself was an atheist and, like all such persons with an inferiority complex, he lusted for power as the only path he knew to immortality, for nothing awaited him beyond the grave. I venture that the same sort of twisted thinking infests people who shoot up schools, since they have no self-worth or identity unless others know them and fear them. Lincoln was worse because he managed to kill hundreds of thousands of people who need not have died, all to make himself feel important and to destroy the old federation whose legal limitations he despised, just as his ideological forebears Alexander Hamilton and Henry Clay did.
This is not "just a movie." This is propaganda, for only by believing it can the American people accept and obey the monstrosity that is modern government. Perhaps only a return to true transcendence -- whereby all are answerable to their Creator, and the ends never justify the means -- can save us.