We got so excited when we heard Twentieth Century Fox Home Entertainment was releasing The Birth of a Nation on Blu-ray. The D.W. Griffith controversial masterpiece, finally to be (re)introduced to a (new) generation!
The silent version is a landmark in cinema history, yet since the day it opened, it has been continuously protested . . . and defended. It depicts the Civil War, and as such contains some battle scenes, though nothing overtly gory or bloody. We see the shooting of Abraham Lincoln. A black slave tries to attack a white woman, and she runs, leading to her accidental death. It also depicts drinking and drunkenness, mostly by the African-American characters. It contains some of the most disturbingly racist images ever filmed. Still, it’s unlikely that audiences today will be as powerfully influenced by this film as audiences were nearly 100 years ago.
Then we learned that the film was not the film. Kino already released the Blu-ray. This time ’round, director Nate Parker simply “stole” the title of the 1915 silent epic . . . to confuse audiences? Make a statement? Who knows? Who cares?
The new Birth? It’s set against the antebellum South and follows Nat Turner (also played by Parker), a literate slave and preacher, whose financially strained owner, Samuel Turner (Armie Hammer), accepts an offer to use Nat’s preaching to subdue unruly slaves. As he witnesses countless atrocities against himself and fellow slaves Nat orchestrates an uprising in the hopes of leading his people to freedom.
The flick is riddled with white characters who define evil: Think bad teeth, stupidity,violence. Plus it’s extremely violent. Characters are beaten and/or raped (happens largely off screen, but the effects of the violence are shown), and there’s fighting, shooting, stabbing, and more, with lots of blood and gore, in many forms. Slaves are also whipped, hung, and tortured. Topless women are seen in both a sexual context and during an African tribal scene. Language includes many uses of the “n” word, plus “hell” and “goddamn.” While it’s undeniable that Turner’s actions sent a message against oppression, the fact that he relied on violence makes things more complex.
It’s obvious Parker knew he was pushing buttons with the title. He says his film had the same title “ironically, but very much by design.” He adds: “Griffith’s film relied heavily on racist propaganda to evoke fear and desperation as a tool to solidify white supremacy as the lifeblood of American sustenance. Not only did this film motivate the massive resurgence of the terror group the Ku Klux Klan and the carnage exacted against people of African descent, it served as the foundation of the film industry we know today. I’ve reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change.”
On the run from the law, Madea hides out at Bam’s house, thinking she will lie low. Unfortunately, Bam’s house is packed with rambunctious family and friends, and Madea finds herself needing to lay down her own law and drop the hammer.
