Release: Friday, October 7, 2016

[Theater]

Written by: Nate Parker

Directed by: Nate Parker

It’s all but inevitable making comparisons between Steve McQueen’s 2013 Oscar-winning adaptation of Solomon Northup’s memoir and the debut feature from Nate Parker. Some have even gone as far as to regard the latter’s work as the 12 Years a Slave of 2016, which, in hindsight, seems a little hasty.

There is plenty of evidence that supports the notion the two films are cut from the same cloth. Both pieces center on fairly young, literate black males who endure uniquely brutal circumstances in the antebellum South. 12 Years may be more notorious for its unflinching depiction of violence, but The Birth of a Nation is no slouch, offering up a similarly sweeping, damning indictment of society by channeling the greater travesty of institutionalized racism through a singular perspective. Nation even compares favorably to its spiritual predecessor in terms of emotional heft and the authority it carries — these are very serious films with conviction to match and an unusual ability to break your spirit through sheer force of realism.

They are also deeply personal works, helmed by capable filmmakers whose vision and whose commitment to that vision seem to go unquestioned. Parker proves himself an indispensable asset, serving not only as Nation‘s director, writer and producer, but fulfilling a substantial lead role as Nat Turner, an enslaved man who inspired a bloody uprising in Southampton County, Virginia in 1831. Unlike McQueen’s third effort, one that followed a free man’s descent into hell having been abducted and sold into slavery, Parker’s debut begins in the muck, gradually building toward a rebellion that caused the deaths of an estimated 65 whites, while retaliatory action on behalf of white militias and mobs cost the lives of roughly 200 African Americans, both freed and enslaved and many of whom had never so much as raised a pitchfork in (righteous) anger. There’s an appalling reality we must face come the end credits, too. A brief title card lets us know just how barbaric life would become in this region in the aftermath. And after being captured we’re told Nat was hanged, beheaded and then quartered, and parts of his corpse were “repurposed” in an effort to eliminate any trace of his existence.

Appropriately, a sense of martyrdom permeates the drama, though this is also the very rough, blunt edge that comes to define the blade of justice Parker is attempting to wield. That the portrait desperately wants to be at least something like The Passion of the Christ when it grows up — Parker clearly regards the figure as more Jesus Christ than Dr. Martin Luther King — doesn’t necessarily make the film profound. It does make it rather clumsy and pretentious though. His introduction, The Birth of a Leader as it were, is far from being a stroke of subtlety, and it’s a moment that we’ll frequently return to during the longer paces of the second and third acts. There’s a mystical quality to the way we’re introduced to Nat as a young boy running from something (presumably violent) through the thick, dark woods. He stumbles upon a small gathering of prophets (as one does) who see the boy growing into a man of considerable influence and power. The only thing they don’t say is specifically how the plot is going to develop.

Nation is a beautifully realized production, from its musty yellow/gray/brown wardrobe to the McQueen-esque shots of a southern landscape that stays still as a painting, hauntingly indifferent to the passage of time. Set against this backdrop are universally committed performances, with Parker offering one of the year’s more morally and emotionally complex protagonists. As a black preacher afforded certain luxuries (you might call them), like maintaining a borderline friendly relationship with the proprietors of this particular plantation to which he has drifted and for whom he picks not-so-endless supplies of cotton, Nat is an immediately empathetic character even if his saintly aura feels awkward. Armie Hammer, who plays Samuel Turner, also turns in strong work, managing to effect a slave owner whose humanity may still lie dormant but is constantly being ignored in favor of simpler, more immediate solutions — getting drunk as a way to deal with his economic woes, and taking out his problems on what he calls his property. Yes, it’s all very Edwin Epps-ian.

Like many plantation owners Samuel and his wife Elizabeth (Penelope Ann Miller) are enduring very harsh economic times and they are looking for other ways to raise money. A local reverend (Mark Boone Jr.) suggests they employ Nat’s gift to help suppress unruly slaves elsewhere. Sure enough, as we travel with him and Samuel to various plantations and experience the atrocities ongoing there, it becomes clear the young man has a certain power that can pay dividends. But it comes at a hefty price for Nat as the psychological torment of remaining obedient spreads like a cancer throughout his soul, while the contradictory, physical act of standing before his people while he suppresses them with scripture hurts him as much, if not more. It’s a perfectly twisted nightmare, one that comes to life powerfully and memorably via the conviction of a freshman director.

The narrative swells almost ungainly to encompass Nat’s budding romance with the newly arrived Cherry (Aja Naomi King), a quiet but beautiful woman who is taken by Nat’s kindness and confidence. And so we’ve reached a point where the more predictable stuff starts to happen: as Nat’s preaching continues he finds his popularity growing, but also finds his fiery sermons are only inflaming wounds rather than healing them. Violence is visited upon Nat’s home as Cherry, now his wife, barely survives an assault from three men, one of whom is Jackie Earle Haley’s detestable Raymond Cobb, the same man who had years ago murdered Nat’s father right in front of him. Tacked on for good measure are the moments of suffering that now feel de rigueur for the genre — an off-screen rape, the whipping at the post, lynchings. Not that these moments are ineffective or that we once think about dismissing them, but the bluntness with which Parker inserts these moments of torture overrides the film’s more compelling epiphanies, like him discovering that for every verse in the Bible that supports strict obedience to a higher power, there is one condemning man for his violent and hateful behavior.

It’s also unfortunate the road to rebellion isn’t realized as fully as one might expect from a film so provocatively titled. There’s a sense of unity in a few of the ending scenes, but it feels rushed and secondary to the personal stakes that have been ratcheted up by each act of cruelty Nat witnesses; nevertheless it’s not a stretch to imagine these quiet rumblings later erupting into full-fledged war as the country tears itself apart from civil unrest. And Parker even directly addresses those connections by depicting a young boy briefly glimpsed sitting by becoming a soldier on the front lines. While compelling in its own right, transitions like these have little nuance and feel clunky, evidence of a director still finding his style.

In spite of its clumsiness and familiarity Nation feels weighty and you can sense the rage steaming off the pages of this script. You can smell the ink, taste the sweat and the tears that were poured into this labor of love. Yes, the film left me feeling profoundly sad, and I would be lying if I said I wanted to see it again. Yes, the narrative could have (and probably should have) been more subtle with its paralleling of Nat’s suffering to the final hours in the life of Jesus of Nazareth. Yes, I am aware that the director’s public image as of present isn’t exactly of the sort you want to tout during awards season. (I find the latter tidbit interesting insofar as it is curiously poor timing for Parker.) Still, there’s enough here to distinguish the film as a unique vision, and one that gains some points for poignancy as nationwide protests continue to dominate headlines as more and more black athletes take a knee. That Colin Kaepernick felt he had to do something symbolic during the National Anthem is evidence that not much has really changed. Meanwhile the red on the flag continues to run.

Recommendation: Hard-hitting, violent and downright nasty at times, The Birth of a Nation is not an easy watch but it is an important film. It’s an interesting one to watch given its pronounced spiritual roots, even though I personally think the Jesus Christ parallel is a bit much. I am not ready to proclaim this a must-see; it’s not quite as masterfully created as Steve McQueen’s film but at the same time I also get the comparisons. 

Rated: R

Running Time: 120 mins.

Quoted: “Submit yourselves to your Masters, not only to those who are good and considerate. But also to those who are harsh.”

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Photo credits: http://www.impawards.com; http://www.imdb.com