Film Review: Glory (1989)

Music at times can be the most important part of the film, making the very difference between good and great. On some very rare occasions quality of soundtrack is such that it can be enjoyed even by itself or used for other purposes, like with many great 1980s and 1990s memorable soundtracks that became part of the most effective Hollywood trailers. Among those one that stands out is James Horner’s score for Glory, 1989 war epic directed by Edward Zwick.

The film depicts real events that took part during American Civil War and is based on books Lay This Laurel by Lincoln Kirstein and One Gallant Rush by Peter Bouchard, as well as the letters of the film’s protagonist Robert Gould Shaw (played by Matthew Broderick). The plot begins in September 1862 when we are introduced to Shaw as young officer in Union army. He gets wounded during the bloody Battle of Antietam and gets sent to his native Boston to recuperate. Few months later, Massachusetts governor John Andrew (played by Alan North) decides to form – 54th Massachusetts Infantry Regiment, first Union army unit made of black soldiers. Shaw, who came from wealthy and influential abolitionist family, is given the command and rank of Colonel. With the help of his friend Major Cabot Forbes (played by Cary Elwes) he begins to train the volunteers – some escaped slaves, some free men, including his old friend Thomas Searles (played by Andre Braugher). His training is hard, but he also wins respect of his men by fighting to have their salaries equal to white soldiers, get proper shoes and, last but not least, get opportunity to prove their worth at the field of battle. This comes in July 1863 when 54th Massachusetts gets shipped to South Carolina, and after first baptism of fire, takes part in campaign to take strategic port city of Charleston. This would include attempt to take Fort Wagner, heavily defended Confederate position which can be approached only by narrow strip of land and whose capture is impossible without suffering horrendous casualties.

Scriptwriter Kevin Jarre came to the idea of writing this film after seeing monument to Robert Gould Shaw in Boston and being initially surprised to find that the most soldiers depicted were black. Glory was actually the first major Hollywood production to recognise that black soldiers, especially in the later stages of Civil War, represented large percentage of Union Army and made enormous contribution to Union’s victory. As such, Glory could have easily been just another monument-like film dedicated to heroic episode of America’s past or sermon infused with increasing political correctness of late 20th Century America. Edward Zwick, director who until that time worked mostly on television, instead opted for depicting history as authentic as possible. Despite relatively low budget, he made great job, with battle scenes being efficiently recreated with large number of enthusiastic Civil War re-enactors. Zwick also worked hard to have authentic props, uniforms, but the most important was the decision to show Civil War in all of its ugliness. This happens at the very start when the industrial-size slaughter of the thousands is depicted not only through pyrotechnics but some gruesome special effects that involve soldier’s head exploding. Zwick also doesn’t shy away from some other unpleasant aspects of Civil War, including those that run contrary to the popular narrative of noble crusade to black slaves oppressed by primitive and backward South. Glory shows that the blacks were subjected to racist prejudice even in the North, ranging from open contempt shown by their fellow white soldiers to unequal treatment by military bureaucracy and widespread doubts into their capabilities to actually fight. Film also deals with some of the more controversial aspects of the Union’s conduct, which includes scene of Shaw being appalled to find Union Colonel Montgomery (played by Cliff DeYoung) using his own black troops for burning and pillaging Southern towns and terrorising its citizens.

Zwick was fortunate to get truly formidable cast for his film, including actors who were or would soon become household names. Matthew Broderick who plays protagonist was subject of criticism of some reviewers over being miscast. This might be due to his youthful appearance and the image based on his previous roles that were almost entirely comedic in nature. His portrayal of Shaw, on the other hand, is very good. It is his very youthful look and appearance that makes the character believable. Shaw starts as naive idealist, just like so many young men who find wars at the start to be much simpler and more attractive than at the end. It is only later, when he is burdened with responsibility and richer for unpleasant truths found on and back from the front, that he transforms into capable leader. Broderick is, on the other hand, overshadowed by four actors who play seemingly stereotypical, but quite convincing fictional characters that represents various forms of black American experience in Union Army during the Civil War. Andre Braugher, who would later become star of Homicide: Life on the Street, is great as idealistic intellectual who joins the noble fight at first unaware of the hardships and sacrifices it requires; Jihmy Kennedy is also effective as, Jupiter Sharts, stuttering young man who develops into crack shot; Morgan Freeman delivers another great role as John Rawlins, former battleground gravedigger and voice of wisdom. But it is Denzel Washington in the role of Silas Trip, former slave who joined the war due to anger towards his former masters and whose anger is redirected towards injustice he experiences in the North. Washington is wonderful in one of the film’s memorable scene, when his character gets disciplined with whipping and showing, to Shaw’s horror, scars of the similar experiences while being a slave. Washington goes through the experience without sound, with only single tear suggesting the pain and humiliation. Washington was for his performance justly awarded Oscar for Best Actor in Supporting Role.

Glory was also helped by other talents, most notably British cinematographer Freddie Francis. But the most memorable is, of course, orchestral score by James Horner, which also used Boys Choir of Harlem. It is one of those scores that sound emotional in the most positive meaning of the word and uplifts what otherwise could be dark and depressive story. And the prospects for this film being dark were especially so at the ending, which followed historical record and depicted how heroic charge of 54th Massachusetts Infantry against Fort Sumter ended in bloody failure, making all the sacrifices of the protagonists look as futile and charges over non man’s land during World War One. End titles, however, suggests that willingness of black soldier to fight and die in such spectacular way disarmed last sceptics in Union ranks and allowed for mass recruitment of blacks into Union Army. Script could have dwelt a little bit more on that and allow the positive note to be enhanced by something more than Horner’s music and images of Boston monument. However, even with this missed opportunity, Glory is great film that deserve recommendation even to viewers not that interested in historical lessons.

RATING: 8/10 (+++)

Blog in Croatian https://draxblog.com
Blog in English https://draxreview.wordpress.com/
Leofinance blog https://leofinance.io/@drax.leo
Cent profile https://beta.cent.co/@drax
Minds profile https://www.minds.com/drax_rp_nc
Uptrennd profile https://www.uptrennd.com/user/MTYzNA

Unstoppable Domains: https://unstoppabledomains.com/?ref=3fc23fc42c1b417
Hiveonboard: https://hiveonboard.com?ref=drax
Bitcoin Lightning HIVE donations: https://v4v.app/v1/lnurlp/qrcode/drax
Rising Star game: https://www.risingstargame.com?referrer=drax
1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG
ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7