By Katie Kieffer
Monday, June 24, 2013
Don’t give up on Hollywood. I just had the exciting
opportunity to pre-screen Gettysburg director Ron Maxwell’s third Civil War
movie premiering Friday, June 28. If you see just one movie this summer, make
it Copperhead.
Copperhead is worth seeing because it re-tells American
history with an intimate, engaging and non-textbook approach. Away from the
mighty battlefields and memorable generals we finally get to experience
behind-the-scenes struggles of the Civil War through a few friends, lovers,
neighbors and family members trying to speak their minds while practicing what
they preach.
Copperhead is based on a novel by Harold Frederic, who
lived through the Civil War as a boy. The lead character, Abner Beech, opens
the movie by saying: “They called us people in the North that didn’t want the
war Copperheads.” When Abner’s hired boy puzzles over the hatred and violence
exerted by one-time friends and neighbors, Abner explains: “War is a fever son…
puts you out of your right mind; you do things you wouldn’t do when you’re
sick…”
President Obama is on the verge of bypassing Congress and
hauling the United States into a war in Syria much like his war in Libya, which
he called “kinetic military action” in order to sneak past the Constitution.
When it comes to war, Obama is hardly transparent with the American people.
Obama feigns that he is only now contemplating arming
sketchy Syrian rebels. But the truth is that he and former Secretary of State
Hillary Clinton have been secretly arming Syrian rebels with links to terrorism
for a very long time; by all major accounts, Obama’s gun-running program played
a key role in the deaths of four Americans in Benghazi, Libya on September, 11,
2012.
War, especially civil war, comes at a price and it is far
easier to get into war than out of war. Copperhead takes us into the homes of a
few families who started out as neighbors with different beliefs. Instead of
free speech and open debate, violence became the mode of making one’s points
clear. In a particularly emotional scene, two grown men and
neighbors-turned-enemies cling to each other in open despair, tears filling
their eyes, as they realize they may have lost their most precious possessions
in their rage.
As our own young men and women come home without their
limbs after bravely fighting Obama’s perpetual wars in the Middle East,
Copperhead reminds us that young boys also lost their eyes and limbs fighting
in the Civil War and that African Americans were: “bought and sold and whipped
just ‘cause the color of their skin.” The movie was humbling to watch; it
forces one to contemplate what it means, and how hard it is, to truly “love
your neighbor as yourself.” As one teenage boy tells his abolitionist father pushing
him to fight: “I didn’t know the ‘Lord’s work’ was killing. … There’s too many
folks carryin’ swords; not enough pulling plows.”
Maxwell describes his vision behind Copperhead and how it
is different from his previous Civil War films: “I wanted to explore something
more intimate. My previous pictures focused on officers and leaders, but, in
reality, the war was fought by teenage boys, most from small towns whose
families ended up devastated by the war even if no battles were fought nearby.
… Not everybody who hated slavery or loved the U.S. Constitution was willing to
send their children off to die or be maimed in a bloody battle against fellow
Americans. That fascinating reality is the force driving Copperhead.”
Copperhead also drives home the importance of free speech
as a way to resolve conflict before jumping into outright war. “If there’s a
political point to the film, it’s a defense of dissent,” says screenwriter Bill
Kauffman.
Thomas J. DiLorenzo, Professor of Economics at Loyola
College in Maryland recently wrote a book called Lincoln Unmasked where he
explains history in a way that echoes the message in Copperhead. DiLorenzo
explores how, after the Civil War, Americans forgot that the founders intended
our union to remain strong and voluntary: “The Jeffersonian, states' rights
tradition, for example, has been whitewashed from the history books thanks to
the efforts of several generations of gatekeepers and court historians.
…[states’ rights] was an important Northern as well as a Southern political
doctrine prior to 1865.”
There are valuable lessons in life and history folded
into this fascinating new film coming out of Hollywood.
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