The film purports to recount the last months of the life of Abraham Lincoln as he lobbied to achieve the passage of the 13th Amendment to the Constitution, which is said to have ended legal slavery in America—at least on paper.
Spielberg is the master of American propaganda, and there is no one since the notorious director D.W. Griffith who has more successfully exported to the world a utopian vision of America as a Caucasian paradise. And while his White characters—from Jaws to ET to Amistad—show a range of virtues, his Black characters have been limited to cardboard portrayals of simplistic and racially clichéd stereotypes.
This is the inescapable context with which one must approach Spielberg’s Lincoln, a film that is no more accurate in its depiction of a critical period in history than George Bush was about the so-called weapons-of-mass-destruction lie that brought a world of nations to endless war.
First, let us take a couple of paragraphs to dispose of some well-entrenched historical myths. No war in the 6,600-year history of the White man has ever been fought for the benefit of Blacks—never has happened and never will. If the North fought to “free the slaves,” then why did the war start with the slaveholding South attacking the Union at Fort Sumter? Should it not have been the reverse?