Miniseries Review: Death by Lightning (dir by Matt Ross)


Death by Lightning, a four-episode miniseries that recently dropped on Netflix, tells the story of two “forgotten men,” as the show itself puts it.

Michael Shannon plays James A. Garfield, the Ohio farmer and former Congressman who, despite attending the 1880 Republican convention solely to give the nominating speech for Secretary of Treasury John Sherman (Alistair Petrie), found himself nominated for President after the convention found itself deadlocked between supporters of Former President Grant (Wayne Brett) and Senator James Blaine (Bradley Whitford).  Garfield did not want to run for President and he certainly did not want to run with Chester A. Arthur (Nick Offerman), an associate of New York political boss, Roscoe Conkling (Shea Whigham).  However, in November of 1880, James Garfield was narrowly elected the 20th President of the United States.

Matthew MacFayden plays Charles J. Guiteau, a failed lawyer and self-proclaimed newspaper publisher who felt that a stump speech he had given at a small rally was responsible for Garfield’s victory.  Guiteau expected to be appointed to a position in the Garfield administration, perhaps as Consul to France.  In those days of no Secret Service protection and an open White House, Guiteau was one of the many random office seekers who managed to get a face-to-face meeting with Garfield.  What Guiteau did not get was a job.  While Guiteau may have deluded himself into thinking that he was an inside player, everyone else viewed him as being a pesky and disreputable character.  On July 2nd, 1881, Guiteau shot Garfield in the back.  After Garfield died in September, Guiteau was convinced that he would be pardoned by the newly sworn-in President Arthur.  Instead, Guiteau was hanged on June 30th, 1882.

(It’s now generally agreed that Guiteau was such a bad shot that Garfield would have survived his wounds if not for the incompetence of his doctors, who probed his wounds with their bare hands in an effort to extract the bullet.  Garfield died as a result of multiple infections caused by his medical treatment.)

Again, Death by Lightning describes Garfield and Guiteau as both being forgotten men.  That’s not quite true.  I knew who both of them were before I watched the miniseries but then again, I’m also a history nerd.  As much as I don’t want to admit it, it is true that the majority of today’s Americans don’t know either Garfield or Guiteau.  And yet, in 1881, America revolved around them and their fate.  Everyone checked every day for news on Garfield’s health and Guiteau’s trial was heavily covered by the press.  That’s something to remember whenever you hear people talking about how “history will remember” whatever may be happening in the news today.  History may remember but people are quick to forget.

As for Death by Lightning, it does a good job of telling not only the stories of Garfield and Guiteau but also Chester Arthur as well.  The miniseries takes place at a time when political machines dominated American politics and also at a time when the Spoils system and the widespread corruption that it engendered were both accepted as immutable political realities.  Guiteau, having spent his life seeing other people receive jobs for supporting the right candidate, felt that he was naturally entitled to whatever position he requested.  Guiteau’s actions actually did lead to reformation of the Spoils system, with President Arthur emerging an unlikely reformer.  Never again would a random office seeker by allowed through the front doors of the White House and never again would a President casually walk around Washington D.C. without some sort of guard.  With a smart script, good performances, and even a few moments of unexpected cringe humor, Death by Lighting recreates that moment in American history and it pays tribute to James A. Garfield, who was universally described by his contemporaries as being a decent man who was struck down before he could reach his full potential.

How historically accurate is Death by Lightning?  That’s a fair question.  Death by Lightning sticks to the established facts about Garfield and Guiteau but a scene in which Garfield’s daughter argues with him about immigration is undoubtedly meant to be more of a commentary on 2025 than 1880.  I think it can be argued that no film or series can be 100% historically accurate because those who actually witnessed the events in question are no longer with us.  Inevitably, the past is always viewed and recreated through the filter of the present.  And indeed, it is tempting to compares Garfield and Guiteau to our modern-day politicians and activists.  Guiteau, with his constant excuses for his own dumb decisions and his ranting and raving about how he speaks for the people, was a particularly familiar character.  As for the modest and honest Garfield, it’s sadly difficult to think of any modern-day politicians from the same mold.

As a final note, my favorite part of this miniseries occurred during the first episode.  The recreation of the 1880 Republican Convention is wonderfully entertaining.  It’s amazing to think that, in the days before television coverage required political conventions to become carefully choreographed and tightly controlled, there actually was legitimate suspense about who would end up being nominated.  Sadly, those days seem to be over.

The London Film Critics Circle Honors Nomadland


Even in London, they love Nomadland!

The London Film Critics Circle named their best of the year yesterday.  I imagine that this will have negligible influence on the Oscar race since some of the films honored have yet to be released in the States and some of the biggest Oscar contenders have yet to be released in the UK.  Still, I think it’s always interesting to see what films are being honored outside of the U.S.  Cinema is an international art form.

Here are the nominees and, in bold, the winners from London:

FILM OF THE YEAR
About Endlessness
Collective
I’m Thinking of Ending Things
Lovers Rock
The Mauritanian
Minari
Nomadland
Promising Young Woman
Rocks
Saint Maud

FOREIGN-LANGUAGE FILM OF THE YEAR
About Endlessness
Another Round
Collective
Les Misérables
Minari

DOCUMENTARY OF THE YEAR
Bloody Nose, Empty Pockets
Collective
Dick Johnson Is Dead
Time
The Truffle Hunters

BRITISH/IRISH FILM OF THE YEAR
The Father
Lovers Rock
Mangrove
Rocks
Saint Maud

DIRECTOR OF THE YEAR
David Fincher – Mank
Rose Glass – Saint Maud
Kevin Macdonald – The Mauritanian
Steve McQueen – Small Axe
Chloé Zhao – Nomadland

SCREENWRITER OF THE YEAR
Jack Fincher – Mank
Rose Glass – Saint Maud
Charlie Kaufman – I’m Thinking of Ending Things
Aaron Sorkin – The Trial of the Chicago 7
Chloé Zhao – Nomadland

ACTRESS OF THE YEAR
Morfydd Clark – Saint Maud
Viola Davis – Ma Rainey’s Black Bottom
Vanessa Kirby – Pieces of a Woman
Frances McDormand – Nomadland
Carey Mulligan – Promising Young Woman

ACTOR OF THE YEAR
Riz Ahmed – Sound of Metal
Chadwick Boseman – Ma Rainey’s Black Bottom
Anthony Hopkins – The Father
Delroy Lindo – Da 5 Bloods
Tahar Rahim – The Mauritanian

SUPPORTING ACTRESS OF THE YEAR
Maria Bakalova – Borat Subsequent Moviefilm
Ellen Burstyn – Pieces of a Woman
Essie Davis – Babyteeth
Jennifer Ehle – Saint Maud
Amanda Seyfried – Mank

SUPPORTING ACTOR OF THE YEAR
Sacha Baron Cohen – The Trial of the Chicago 7
Chadwick Boseman – Da 5 Bloods
Aldis Hodge – Clemency
Ben Mendelsohn – Babyteeth
Shaun Parkes – Mangrove

BRITISH/IRISH ACTRESS OF THE YEAR (for body of work)
Bukky Bakray – Rocks
Jessie Buckley – I’m Thinking of Ending Things & Misbehaviour
Morfydd Clark – Eternal Beauty & Saint Maud
Vanessa Kirby – Pieces of a Woman & The World to Come
Carey Mulligan – The Dig & Promising Young Woman

BRITISH/IRISH ACTOR OF THE YEAR (for body of work)
Riz Ahmed – Mogul Mowgli & Sound of Metal
Sacha Baron Cohen – Borat Subsequent Moviefilm & The Trial of the Chicago 7
John Boyega – Red, White and Blue
Anthony Hopkins – The Father
Cosmo Jarvis – Calm With Horses & Nocturnal

BREAKTHROUGH BRITISH/IRISH FILMMAKER
Henry Blake – County Lines
Fyzal Boulifa – Lynn + Lucy
Emerald Fennell – Promising Young Woman
Rose Glass – Saint Maud
Remi Weekes – His House

YOUNG BRITISH/IRISH PERFORMER
Kosar Ali – Rocks
Bukky Bakray – Rocks
Millie Bobby Brown – Enola Holmes
Conrad Khan – County Lines
Molly Windsor – Make Up

BRITISH/IRISH SHORT FILM
Filipiñana – Rafael Manuel, director
Hungry Joe – Paul Holbrook, director
Lizard – Akinola Davies Jr, director
The Long Goodbye – Aneil Karia, director
The Shift – Laura Carreira, director

TECHNICAL ACHIEVEMENT
Ammonite – Stéphane Fontaine, cinematography
Birds of Prey – Deborah Lamia Denaver & Adruitha Lee, makeup & hair
Lovers Rock – Mica Levi, music
Mank – Donald Graham Burt, production design
Nomadland – Joshua James Richards, cinematography
Rocks – Lucy Pardee, casting
Soul – Pete Docter, animation
Sound of Metal – Nicolas Becker, sound design
Tenet – Jennifer Lame, film editing
Wolfwalkers – Tomm Moore & Ross Stewart, animation

Film Review: Small Axe: Mangrove (dir by Steve McQueen)


Say whatever else you might want to say about 2020 as a cinematic year, at least it’s giving us five new films from Steve McQueen.

This British director is one of the most consistently interesting filmmakers working today and anytime we get new work for him, it’s a cause for celebration.  His latest project is Small Axe, an anthology of five feature-length films that examines the real-life history of London’s West Indian community.  In the UK, the film are premiering on the BBC while, here in the States, they’ll be premiering on Prime.  Through mid-December, we’ll be getting a new Steve McQueen film every week.

The first of these films is Mangrove.  The film opens in the late 60s, with activist Frank Crichlow (Shaun Parkes) opening a restaurant in London’s Notting Hill neighborhood.  The restaurant is called The Mangrove and it quickly becomes a base for the community.  It also becomes a target for the Metropolitan Police.  PC Pulley (Sam Spruell) claims that the Frank has a history of tolerating petty crime and that the Mangrove is probably just a front for some nefarious operation.  Of course, what quickly becomes obvious is that Pulley’s main problem with the Mangrove is that its owner is black and so are the majority of its customers.  Pulley is an unrepentant racist, the type of man who sits in his patrol car and complains that the military hasn’t been called in to enforce the law in the neighborhood.  (As obsessed as he is with the military, Pulley also says, with some pride, that he’s never actually served in the army.)  When a new rookie shows up, Pulley informs him that his priority for the night is to arrest the first black person that he sees.

Every chance that he gets, Pulley raids the Mangrove.  When Frank complains, he loses his liquor license.  When the members of the community stage a peaceful protest (“Hands Off The Mangrove!” goes one chant), Frank and eight others are arrested and charged with inciting a riot and affray, charges that could lead to all of them spending several years in prison.  (Affray is the legal term for “disturbing the peace.”)  Among those arrested, along with Frank, are activist Darcus Howe (Malachi Kirby) and British Black Panther leader Altheia Jones-LeCointe (Letitita Wright).  Both Darcus and Altheia insist on acting as their own counsel during the trial, giving them the chance to cross-examine the police and to also take their case directly to the jury.

Though Mangrove is a courtroom drama, the trial doesn’t being until almost an hour into the film’s running time.  Wisely, McQueen instead spends the first sixty minutes of the film introducing us to the neighborhood surrounding the Mangrove and also allowing us to get to know the people who not only work there but also the ones who eat there.  The film shows how, for a community of outsiders, the Mangrove became more than just a restaurant.  It became a center for the entire neighborhood, a place where the members of the London’s West Indian community could safely gather.  For someone like Pulley, the Mangrove was a symbol of everything that he couldn’t control and therefore, it had to be destroyed and its owners had to be humiliated.  As well-handled as the courtroom scenes are, they would be considerably less effective if the film hadn’t shown us why it was felt that the Mangrove was something worth fighting for.  When the Mangrove Nine go on trail, they’re not just nine people who have been unjustly accused.  Instead, they represent an entire community that refuses to continue to bow down to their oppressors.

It’s an often effective film, one that is all the more powerful for being based on a true story.  Much as he did with Shame, Steve McQueen makes effective use of the harsh and rather cold urban landscape that his characters inhabit. One needs only watch Frank walk down a dreary London street to understand why the Mangrove was so important to the community.  As presented by McQueen, the Mangrove provides not only an escape from the harshness of the world but also a safe place to discuss how to make that world maybe a little bit less harsh for future generations.  McQueen is brave enough to allow his camera to keep running, even beyond the point that most directors would have said “Cut.”  McQueen shows us Frank yelling after being brutally pushed into a prison cell, as any director would.  However, McQueen doesn’t cut away once Frank falls silent.  Instead, his camera remains on Frank, making us feel his isolation and his feeling of hopelessness.  It takes just a minute to go from the exhilaration of hearing Frank curse out his jailers to the horror of realizing that Frank is basically at their mercy.

For the most part, the actors make a strong impression, with the only false note coming from Rochenda Sandall, who plays Darcus’s partner and often seems to be performing in a different movie from everyone else.  Malachi Kirby and Shaun Parkes have several strong moments as Darcus and Frank while Sam Spruell plays Pulley as being an all-too familiar monster.  That said, the film is pretty much stolen by Letitia Wright, who brings both fury and wit to the role of Altheia.  Whether she’s exposing the Crown’s medical examiner as a fraud or angrily reprimanding a defendant who is considering pleading guilty, Letitia Wright dominates every scene in which she appears.

Is Mangrove eligible for the Oscars?  Under normal circumstances, it wouldn’t be.  But, with the rule changes and the fact that Mangrove was not only selected to compete at Cannes (before Cannes was cancelled, of course) but that it also opened the BFI London Film Festival, I think a case can be made for considering Mangrove to be a feature film as opposed to being a television movie.  This is a strange year so who knows?  Personally, I think Mangrove deserves to be considered.  If it’s not nominated for any Oscars, it’ll definitely be nominated for the Emmys.  That’ll be determined in the future.  For now, it can be viewed on Prime.