Historical accuracy and perspective in Spike Lee, Gary Ross, and William Wyler films

¶ … Film and Perspectives on History

Film remains in the subconscious of culture as a means of expression and storytelling to the public. Many people see film as a much-needed form of entertainment while others see it as art and a way of conveying a message to the public. Filmmakers use the medium as a means of expressing their ideas and view of the world whether it is an original story or an historical event. The trouble with filmmakers using history as a genre to appeal to the mass audience is that most times the view of history is skewed to fit the status quo perception of the event. Fortunately filmmakers like Spike Lee, Gary Ross and William Wyler have brought it upon themselves to attempt to make movies that tell a history in the correct framework of historical context. As the paragraphs below will examine with the three films of The Best Years of Our Lives, Seabiscuit and Malcolm X, these filmmakers worked to bring the stories of historical events to light and used different film techniques to accomplish this feat. However, the trouble with such history in the movies is that many people belief the filmmaker over the historical account. This is troubling as much as filmmakers try to bring the truth to the screen; most times they are presenting their own opinion. Jane Tompkins elaborates on this idea with the following quote:

The idea that accounts are perspectival seemed to me a superior standpoint from which to view all the versions of "what happened," and to regard with sympathetic condescension any person so old-fashioned and benighted as to believe that there really was some way of arriving at the truth. (732)

She furthers the discussion by offering the opinion that by looking at history from a certain perspective is indeed changing the perception of that event for that person's perspective. This slowly over time and word of mouth can completely wipe out the subject matter of history. She goes on to remark that one does not need to belief anything anyone says that in fact by questioning the facts, people can arrive at truth.

This paper will explore the truth and fiction of the above-mentioned films and look at the different techniques in which the filmmakers chose to tell these stories to the public. In this day and age the real danger is that people will actually believe the fiction as truth. This paper works to establish a foundation for people to discover not only the value of history but to look beyond the images found in film's historical portrayal.

The Best Years of Our Lives

It is the hope that sustains the spirit of every GI: the dream of the day when he will finally return home. The Best Years of Our Lives is the story of three World War II veterans as they return to their hometown. But for each man, the dream is about to become a nightmare with new realities of post war life.

The film begins as each man is finding a way home after being away at the war and the three later find themselves on the same military flight across the country. What makes this flight interesting is the fact they are flying in a war bomber with an open view of the country below. This effectively puts each man on equal ground and status but it also reminds the viewer what the men were fighting for in the first place. In many ways, such a view of the world remains a reminder of just how small we really are in life. This view from above can seen as symbolic as being god-like and euphoric which only foreshadows "the fall" these men are about to take getting back to reality. This opening is also bathed in light and this tool paints a feeling of peace for the viewer. The lighting technique remains very important to this movie as to aid in timing the suspense and resolution of conflict.

In film lighting is used to emphasize the story and create drama when necessary. This is done effectively done for this film due to the rich contrast between light and shadow. There is no color symbolism used, as it is a black and white film however, lighting plays an integral role of establishing the plotline and economic divide between men. For instance, the wealthier of the G.I.s, a banker in is his older life lives in a penthouse apartment but this only reinforces to the viewer what they already know because every time the viewer sees this character he is bathed in light and light tones. In contrast, the navy, handless man is from a middle class family and the viewer sees him in darker colors.

Lighting is also used when establishing each characters adjustment back into civilian life. Each man seems comforted by the bar scene and drinking instead of facing what is at home. These scenes pertaining to the banker's drinking problem are shot very close up and with dark backgrounds. This emphasizes his descend into the pit of despair or his inability to cope with his new surroundings. As he starts to get more intoxicated, his surroundings blur and become unrecognizable. This reflects exactly how he must appear not only to himself but to also his family. To further back up this notion, the handless navy man also has worries that his girlfriend will not accept him as husband material because of his disability. He, too drowns his sorrows but only briefly as much of how his scenes are shot reflect is overall positive attitude toward the situation. These scenes are close up and bathed in light. They are also many times outside which is symbolic of him accepting his surroundings. In many ways, he is better off than the other two who are whole men. Captain Derry has similar romantic concerns as he is in the middle of a loveless marriage. His first few days are spent looking for his wife around town. His concern over the situation is not as dramatic is the viewer would hope but also shows he is complacent due to the fact he may not be prepared for a divorce. These scenes are also shot brightly. He makes up for his non-chalont manner toward his wife by being the one guy the others can turn to. He feels compelled to help out especially when it comes to paying for things. It is not out of flaunting his situation, not like the banker but more out of a need to be needed by others. In many ways, he is the one who has been left behind the most.

Malcolm X

In the film Malcolm X, Spike Lee misleads the viewer about the full nature of racism held by the Nation of Islam. The Nation of Islam characters in the movie say that whites are "blue-eyed devils," but never revealed to viewers is the doctrine about whites being eliminated in racial Armageddon. Furthermore, Lee did not limit the film's context to historical accounts; instead he chose to put in messages that push for revolution today. For example, while the movie begins with Denzel Washington, in the role of Malcolm X, speaking in which he denounces whites as "the number one murderer," the images of the 1990s; in particular, images of Rodney King being beaten are shown. This juxtaposition creates a tension for the viewer and its view of race relations. In other words, these images distort reality to the point of feeling discomfort. Also at the beginning, in between images of the King beating and of the Malcolm X character speaking; there are images of an American flag burning. By the end of the film, the viewer knows the meaning and cinematic purpose behind this powerful image. After the bulk of the film ends, it having shown a historical account of the black Muslim's life, Nelson Mandela comes on as himself to speak about the need of blacks to be treated like human beings and when Mandela says that "we intend to bring [such rights] into existence," Lee edits the image of the real Malcolm X speaking and giving the following conclusion: "by any means necessary."

The use of music and more specifically the Arrested Development song "Revolution" also builds the tension of Lee's overall message of dislike toward 1990s race relations. It is obvious he is passionate and emotional about the subject. His choices directly influence the viewer's point-of-view and the historical account of Malcolm X's life. In particular, Arrested Development momentarily offers "it's either the Ballot or the Bullet," but then reveals the group is that the artists have chosen the latter option when they follow up with the following: "come now, revolution." This goes along the same premise of Malcolm X that if progress is not made then other tactics must be taken so that the Black man no longer needs to be alienated by Whites.

It is significant to note that many media today follow the notion that Malcolm X became a non-racist after his pilgrimage to Mecca in the summer of 1964. What is evident from his speeches that came after his pilgrimage is that he no longer propounded Nation of Islam's doctrine about racial Armageddon. What many in the major media do not seem to consider, however, is that he continued threatening a race war, even after pilgrimage, if progress was not made. Additionally it should be notes that although Malcolm X did see, after his pilgrimage, the possibility of working together with some whites, he threatened a race war with those white not sympathetic to his cause. Lee does not go into this detail. He hopes to create an economic divide by creating a racial divide when all he really expresses is anger and injustice toward his people. This, at the time, made many liberal minded Whites uncomfortable and disheartened.

Conclusion

In some ways movies are not just entertainment but also catalysts for thought outside of the story. An historical event and its portrayal on film can inspire the viewer to seek out more information while questioning the elements of the event. One will wonder what really happened and was the event accurate or just another Hollywood hit meant to make millions? Is it possible to change the event enough to profit at the box office? What is the intent of the director and the producer or even the studio executive? Does the portrayal suffer because of artistic expression or the influence of the Hollywood political machine? Tompkins reflects, "What really happened in such a case is that the subject of debate has changed from the question of what happened in a particular instance to the question of how knowledge is arrived at. The absence of pressure to decide what happened creates the possibility for this change of venue" (733).

Filmmakers use the medium of film as a means of expressing their ideas and view of the world whether it is an original story or an historical event. The trouble with filmmakers using history as a genre to appeal to the mass audience is that most times the view of history is skewed to fit the status quo perception of the event. As the paragraphs below will examine with the three films of The Best Years of Our Lives, Seabiscuit and Malcolm X, these filmmakers worked to bring the stories of historical events to light and used different film techniques to accomplish this feat. However, the trouble with such history in the movies is that many people belief the filmmaker over the historical account. This is troubling as much as filmmakers try to bring the truth to the screen; most times they are presenting their own opinion.

This paper will explore the truth and fiction of the above-mentioned films and look at the different techniques in which the filmmakers chose to tell these stories to the public. In this day and age the real danger is that people will actually believe the fiction as truth. This paper works to establish a foundation for people to discover not only the value of history but to look beyond the images found in film's historical portrayal.