Late last week, The Onion posted a video review of "Lee Daniels' The Butler" (2013) in which they poke fun at what appears to be this year's first example of blatant Oscar bait. The reviewer uses the word "important" to describe the film so much that despite its tongue-in-cheek tone, you might get the overwhelming urge to smack him with a thesaurus. But that's not the only reason you should feel that way while the film may not be "important," it's certainly "magnificent" and well worth your time.
Before its release, some had derisively called the film the "black Forrest Gump." But the only similarity it shares with "Forrest Gump" (1994) is that its protagonist, Cecil Gaines (Forest Whitaker), experiences a whole lot of history first-hand. He navigates an America caught in the throes of the civil rights movement as a White House butler, serving in the administrations of Dwight Eisenhower (Robin Williams) through Ronald Reagan (Alan Rickman). Along the way, he negotiates a tumultuous home life, dealing with his radical activist son (David Oyelowo) and deeply unhappy wife (Oprah Winfrey).
There's always a danger that films with a racial message at their core can easily become preachy. Luckily, "Lee Daniels' The Butler" manages to do the opposite. While the stark truth of race relations isn't ignored, it is handled with rarely seen dexterity. For example, Cecil prefers to keep his head down and do his job while his son is content to risk his life and be thrown in jail for what he perceives is right. It's the film's main conflict and as potent a father-son relationship as there can be.
To bring its narrative to life, "Lee Daniels' The Butler" relies on an extensive company of actors. In fact, I don't think I've ever seen a film so packed to the brim with well-known actors in small roles. Everyone from Cuba Gooding Jr. to John Cusack to Mariah Carey (in a blink-or-you'll-miss-it role) inhabits Cecil's world. The actors blend into their roles without breaking the illusion that the film manages to create.
Through this revolving door of actors is Whitaker, the film's constant. In his finest role since his Oscar-winning turn in "The Last King of Scotland" (2006), Whitaker plays Cecil with solemn determination. His usually distracting droopy eye is a beautiful characterization, as is Cecil's flat voice and hunched over appearance. Also of note is Oyelowo in a performance that takes him from a brooding teenager to a middle-aged man. It's made all the more impressive that Oyelowo is a 37-year-old British man, since you'd never know it from watching him.
Strangely enough, Winfrey, who filmgoers might be most excited to see, underwhelms. While her role is necessary, it's one meant mainly to chew scenery and is, quite frankly, a bit beneath her talents and time.
There are some pacing issues, particularly in one tense dinner scene and other scenes where plot points pile up, but other than that, "Lee Daniels' The Butler" is a beautifully told story of one ordinary man living in a remarkably extraordinary time. It's rare to see a character arc done so well with such naturalism and emotion. Daniels does a wonderful job crafting the film.
On that note, perhaps you're wondering why the film is called "Lee Daniels' The Butler" as opposed to its original title, "The Butler." Due to conflicting legal claims over the title "The Butler," the Weinstein Company, the film's distributor, was forced to change the name and added Daniels' name to the front of the film. It is a move that Daniels reportedly abhors, but it's one that he shouldn't be ashamed of. He has a made a truly inspiring film without any of the usual hackneyed tripe that comes along with films tackling tough issues like racism, and for that, crediting him is appropriate, whether it was initially desired or not. *Rating: 9.3/10**##
