Revolt

‘The Birth of a Nation’ tells the true story of a slave rebellion

It’s difficult to overemphasize the pure evil of America’s original sin: slavery.

The idea that human beings could be owned, brutalized, and subjugated in the land of the free simply because of the color of their skin was a sickening, repugnant philosophy born of metastasized racism, the tendrils of which still exist today—thanks to scared, stupid white people anxious to “take their country back,” emboldened by that Cheeto-hued garbage fire of a human, Donald Trump. If you think we’ve been living in a “post-racial America” for the last seven years because a black dude has been president, then I got an ostrich farm for sale that you might be interested in.

But as bad as it is now, with the old fault lines beginning to fracture again, it still can’t compare to an entire people in bondage whose best hope was that maybe they get a master who isn’t particularly cruel. 

With “The Birth of a Nation,” the true story of the 1831 slave rebellion led by Nat Turner, writer, director and star Nate Parker doesn’t flinch in his portrayal of servitude in the years leading up to the Civil War. Spoiler: it’s not easy to watch.

Turner (Parker) was born into slavery in 1809, in South Carolina. He was taught to read by his mother so he could study the Bible and become a preacher. After killing a white marauder, his father disappeared. In the film, we meet Nat again many years later as a grown man, working the cotton fields of his master, Sam Turner (Armie Hammer) and his wife Elizabeth (Penelope Ann Miller).

When Sam, a relatively kind slave-owner, realizes that Nat can read, and is a preacher, he begins to take him to different plantations to spread the good word, and hopefully quell the angry dreams of insurrection that grow amongst the enslaved.

But when Nat internalizes the totality of their plight, their undignified dehumanization, and the cruel consequences of stepping out of line, he stops turning the other cheek and embarks on the path of revolution, and blood. The rebellion that Turner ultimately leads lays the groundwork for the real war. 

Cinematically, “The Birth of a Nation” is something of a tonal mashup of “12 Years a Slave” and “Braveheart”—to the point where the penultimate battle scene even cribs shots from Gibson’s bombastic liberation epic.

It also shares Gibson’s penchant for graphic violence and occasionally esoteric montages, anachronistic in their technique, like Billie Holiday’s “Strange Fruit” delivering its brutal punch in one of the film’s most arresting sequences.

But all that grandiloquence comes with a price. A great-looking film with fine performances, some of its less black-and-white themes are flattened under the weight of its execution. At least there’s no white savior to pull out the happy ending, which was one of my biggest problems with “12 Years a Slave,” along with the sense that I’ve seen this all before. Both films are at their best when they lay bare the senseless evil that was once so commonplace.

But as a window into the contemporary, “The Birth of a Nation” reminds us that while institutions can crumble and fall within one’s lifetime, changing what’s in people’s hearts takes far, far longer.

For more from Joe, read his review of ​“Blair Witch.”

Full Circle

A brief rundown of what’s happening at the Circle Cinema

OPENING OCTOBER 6

The Girl On The Train
Divorcee Rachel Watson becomes fascinated with a couple she sees every morning on her train ride to work. After witnessing a shocking event, Rachel wakes up with a hangover and discovers wounds and bruises on her body. She sets out to discover the truth of what happened. Based on the bestselling novel, this psychological thriller stars Emily Blunt, Justin Theroux, and Haley Bennett. Rated R. 

The Birth Of A Nation
Actor/Writer Nate Parker makes his directorial debut in this incendiary true story about the most violent slave revolt in U.S history. In 1826, slave preacher Nat Turner went from using the gospel to keep slaves in line to preaching it as inspiration to rise up and revolt. Winner of the Grand Jury Prize and Audience Award at the 2016 Sundance Film Festival. Rated R.

OPENING OCTOBER 13

American Honey
Acclaimed indie British director Andrea Arnold makes her U.S. debut with this road movie drama (partially filmed in Oklahoma) about a teenage girl named Star with nothing to lose. She connects with a group of young door-to-door magazine sales people who work by day and party hard by night as they criss-cross the Midwest. Starring Sasha Lane, Shia LaBeouf, and Riley Keough. Rated R.

OPENING OCTOBER 14

Halloween (1978)
Circle Cinema will have a regular week-long run of this horror classic from genre auteur John Carpenter. The terrifying legend of Michael Myers comes to life once again on the big screen, starring Jamie Lee Curtis and Donald Pleasence. Rated R.

SPECIAL EVENTS

The Deep Blue Sea
An encore presentation of National Theatre Live’s acclaimed production. Terence Rattigan’s devastating masterpiece showcases one of the great female roles in modern theatre. Helen McCrory stars as a judge’s wife in 1950s London who’s caught up in an affair after a failed suicide attempt, as her marriage begins to crumble. Tickets $18, or $15 for members. (Thurs., Oct. 6, 6 p.m.)

The Greasy Strangler
A father and son compete for the affections of a sexy woman who takes part in the Disco walking tour that they run. They soon must contend with the arrival of of a stalker who roams the streets at night, known as The Greasy Strangler. That’s when things get really weird. (Fri., Oct. 7/Sat. Oct. 8, 10 p.m.)

Ramona (1928)
Popular upon its release, this silent film vanished for more than 80 years until a print was discovered in the Czech Republic. This tale of loss, grief and healing will feature musical accompaniment by TU student musicians and singer Monique Valadez. Discussion follows with film composers David Spear and Joseph Julian Gonzalez. Presented by Tulsa American Film Festival and TU.
(Sat. Oct. 8, 10 a.m.)

Mötley Crüe: The End
Concert film of the final performance by the iconic metal band, held to a sold-out crowed at the L.A. Staples Center, on New Year’s Eve 2015. Presented in partnership with 97.5 KMOD, and introduced by the station’s Lynn Hernandez. (Tues. Oct. 11, 7:30 p.m.)

Shin Godzilla
The latest Japanese production of their legendary movie monster. Government officials panic as they try to save a city from the rampage by Godzilla, the lizard sea creature that emerges from the sea and has mysterious ties to a foreign superpower. (Screens Tues./Wed./Thurs, Oct. 11 – 13)

Tulsa American Film Festival
TAFF showcases new independent features and shorts from across America, with a focus on Native American, Latino, Oklahoman, and student films. More info at TulsaAmericanFilmFest.com.
(Wed. through Sun., Oct. 12 – 16)

The End Of Evangelion
An Anime Club presentation, this is the thrilling conclusion to the Neon Genesis Evangelion series phenomenon, from visionary director Hideaki Anno. (Sat./Sun. Oct. 14 – 15, 10 p.m.)

3 1/2 Minutes, 10 Bullets
Presented by Moms Demand Action OK (an anti-gun violence advocacy group, see story on pg. 10), this important documentary looks at racial prejudice in 21st Century America through the lens of a senseless 2012 murder at a Florida gas station. Panelists include: Drew Diamond, Former Tulsa Chief of Police; Rev. Gerald Davis, Minister of Church of the Restoration Unitarian Universalist; Dr. Art Williams, Professor of Sociology at Langston University; and Mana Tahaie, Director of Mission Impact at YWCA Tulsa. Special discounted ticket price: Adults $6.50, Students $5.00. (Tues., Oct. 18, 6 p.m.)