Lincoln

As its simple title suggests, Lincoln is very much focused on characters rather than action, despite the fact that the crux of the story shadows an integral event in American history: the 1865 passage of the Thirteenth Amendment to the United States Constitution. The intention of the doctrine was to outlaw slavery, which naturally caused quite a stir among a considerable number of citizens and officials alike.

Of course, the fight to pass the amendment was a long and arduous one, filled with drama and tension, but ultimately, the focus is aligned with the experiences of President Abraham Lincoln himself, and of those closest to him at the time. Given the synopsis and formidable running time, you’d be forgiven for rolling your eyes at the prospect of a bone-dry ramble through impenetrable political jargon. But even though its pacing does briefly flag at times, Lincoln remains a deeply involving and – yes – entertaining experience.

Deft touches of humour (James Spader, take a bow) and poignancy (the impeccable Sally Field) always keep the film sturdy, but of course, Daniel Day-Lewis is the show master. He won the Oscar, after all, and his performance as the President is simply towering – literally and figuratively – as he embodies every iota of the great man, from the croaky accent to the crooked gait.

Yes, Day-Lewis casts a long shadow but his co-stars never once appear as if they are floundering. Tommy Lee Jones even threatens to steal the film as the whip-smart, cantankerous old Thaddeus Stevens, nailing some powerhouse put-downs which reduce the Democratic representatives to a gaggle of blabbering idiots.

Lincoln is a rich and rewarding film. Spielberg knows just how much light to let in to this dusty world, oiling his subject’s joints with some of his trademark magic. The resultant product is graceful, moving, and – go on then – clothed in immense power.

Michael Perry