Americas 250th Birthday Cinemathon #9: The Patriot (2000)

 

The last of my American Revolution movies is The Patriot, the “largest” film portraying the conflict and one of the more controversial. Its director, Roland Emmerich, is famously a German who fell in love with the United States (perhaps not unlike Prussian officer Baron von Steuben!), so this movie is right up his alley. The Patriot is a semi-fictionalized account of Francis Marion’s guerilla war in South Carolina. Marion had already been an officer in the Continental Army, but rose to fame as a guerilla leader when the British mounted its major southern campaign in 1780. His effective hit-and-run attacks on British and Loyalist forces earned him the moniker “The Swamp Fox.”

Earlier drafts presented a more accurate and less black-and-white picture of the fighting in the South, but Emmerich insisted that he be allowed to make changes for a more crowd-pleasing good vs. evil narrative. This explains why Francis Marion is renamed Benjamin Martin. The historical Marion and his men sometimes engaged in can be considered war crimes. Marion was also a slaveholder, and had orders from above to execute any black man found fighting for or aiding the British.

Americas 250th Birthday Cinemathon #8: Benedict Arnold: A Question of Honor (2003)

 

Benedict Arnold is the Judas of America’s national history. One of the Continental Army’s best generals, he faced frustration as other generals and members of Congress took credit for his accomplishments or passed him over for promotion. After marrying into a Loyalist family and being accused of profiteering, he decided to work with the British and almost gave them the important location of West Point. Discovered, he escaped to join the British Army and would die much later in England, reviled by the United States and treated with contempt or indifference by most of the British.

Benedict Arnold: A Question of Honor was an A&E television film that sought to give Arnold (portrayed by Aidan Quinn) a sympathetic portrayal. The Movie is for the most part accurate, but almost everything just feels…off. One major culprit is the rushed narrative. A two to three hour film could have better fleshed our Arnold’s psychology so we actually feel something when he turns on his country. Of course, it would need better dialogue and some better casting choices as well. A&E was able to make low-budget historical films like The Crossing and Shackleton look great, but you can really feel the low budget with this one.

Americas 250th Birthday Cinemathon #7: John Paul Jones (1959)

 

John Paul Jones was the first of a string of big budget productions from Samuel Bronston. Bronston really wanted colorful spectacle on the big screen, but this came back to bite him when he produced two major bombs in the 60s. Surprisingly, his career wasn’t killed in the crib by John Paul Jones, which made one quarter of its budget back. It's not too hard to see why this movie wasn't a major hit with audiences.

John Paul Jones was the first major naval hero of the United States, scoring victories, taking daring ventures such as an actual raid on home British soil at Whitehaven, and, most famously, shutting down a surrender demand by shouting, “I have not yet begun to fight!” This energetic figure is poorly served by his biopic. The first problem is that it’s one of those “greatest hits” films in well under two hours. It’s hard to create a gripping character arc or build up suspense when you’re bouncing around between times and locations. The movie itself begins aboard a modern American war vessel, where an officer with a “golly gee” voice starts a narration of Jones’ life. From there we see him as a child in Scotland, a regular merchant captain, a Virginia planter, and finally a naval officer sparring with British ships, making amphibious raids, and rubbing elbows with major political figures.

The other problem is the performance of Robert Stack. Stack looks too bored to be such a thrilling character. Then again, he doesn’t have much character beats to work with. The film does threaten us with a love triangle between him, Patrick Henry, and governor’s daughter Dorothea Danders (for some reason they altered her historical name Dandridge), but it’s quietly put away as the governor is dead set against him courting his daughter anyways.

Americas 250th Birthday Cinemathon #6: The Crossing (2000)

 

When I was growing up, A&E, the Arts & Entertainment Channel, used to produce TV movies, many on historical events and figures.  These films were of course low budget, but many turned out quite good (Shackleton, starring Kenneth Branagh, is one I’d recommend). The Crossing, adapted from a Howard Fast novel, is about the famous crossing of the Delaware River, when General George Washington launched a surprise Christmas attack on a Hessian garrison at Trenton, New Jersey.

In 1776 Washington presided over a series of defeats in New York. By the time his army escaped into winter quarters, enlistments were almost up and morale was horrendous. Washington was desperate to do something to raise morale and also show that the fledgling American nation could win battles. He led an audacious night march in freezing weather, which included the crossing of the Delaware River. He strategically hit the Hessians (German soldiers hired by the British) just after they had partied for Christmas. The result was a clear, one-sided victory wherein the Americans suffered only a few wounded (though a couple died from the cold on the march) and the enemy about a hundred wounded and killed, with hundreds more taken prisoner.

Americas 250th Birthday Cinemathon #5: 1776 (1972)

 

1776 is, pending any changes I make later in the year, the only musical on my list. It’s a big screen adaptation of the Broadway play of the same name, with dialogue and lyrics written by Peter Stone and Sherman Edwards. Peter H. Hunt directed the cinematic transfer, which surprisingly was timed jus a few years short of America's 200th birthday. The adaptation is very faithful to the play, and even uses many of the same actors. In fact, you won’t find familiar movie or television actors here, though many of the leads are big names in Broadway history. I first saw this movie way back in 2002 as part of my home school classes. I remember finding parts entertaining, but eventually being frustrated and bored by the end of it (it’s a long movie). My rewatch over 20 years later was much better, though the pace does start to drag in the last half hour, as well as one bafflingly long sequence focused on Thomas Jefferson and his wife.

The plot is that the Continental Congress can’t agree on whether or not to break with Britain and start a new nation. For a musical with plenty of comedy, there is an incredible amount of research involved. Much of the dialogue and even the song lyrics are lifted straight from the letters, speeches, and quotes of the Founding Fathers. It also accurately shows the compromises needed to bring differing interests together in a common cause, particularly when it comes to the issue of slavery.

Americas 250th Birthday Cinemathon #4: The Last of the Mohicans (1992)

 

The Last of the Mohicans is the best known of James Fennimore Cooper’s Leatherstocking Tales. Cooper was the first American novelist to achieve international popularity, and for an author writing in the early 19^th Century was notably fait and complex in portraying American Indian characters, though sometimes slipping into noble savage tropes. Last of the Mohicans has been widely adapted onto screen, but Michael Mann’s 1992 offering is the most popular and enduring, thanks to its great cast, good music by Trevor Jones, and well-shot scenery.

The setting is the French and Indian War, which was a colonial theater of the global Seven Years War. The British and French fought each other with a mix of regular troops, militia, and Indian allies. Last of the Mohicans in particular focuses on events around the Siege of Fort William Henry. Colonel Edmund Monro put up a dogged defense against the Franco-Native force under General Louis-Joseph Montcalm. Reinforcements failed to arrive, so Munro surrendered under generous terms from Montcalm. However, the French’s Indian allies then set upon the disarmed soldiers and the civilians (women and children included), massacring them in one of the most controversial moments of the war.

Americas 250th Birthday Cinemathon #3: The Crucible (1996)

 

The Crucible is an adaptation of American playwright Arthur Miller’s work of the same name. The plot focuses on the hysteria and questionable trials surrounding the witch scare in Salem, Massachusetts, in 1692. Arthur Miller used the historical event as an allegory for McCarthyism in the 1950s, with falsely accused witches representing the falsely accused Communists (as it turns out, intercepted Soviet correspondence and the opening of more material in Russian archives has proved that most of these people were indeed Communists or in league with them, but that’s not the focus on this review).

Arthur Miller actually wrote the adapted screenplay, making some changes here and there (whether of his own accord or the director's I don't know). Of course, the movie allows the actual recreation of the old Puritan town of Salem, though this is still very much an actor-driven dialogue affair. The movie starts Reverend Samuel Parris (Bruce Davison) coming upon his niece Abigail Williams (Wynona Ryder) and the other town girls performing an African ritual with the help of slave woman Tituba. Desperate not to be convicted of witchcraft, Abigail (with a lot of help from the other girls) desperately put all the blame on Tituba, then start accusing other citizens, mostly older women, of having interactions with the Devil.