The title of a new film, THE BIRTH OF A NATION, is a purposefully biting take on the D.W. Griffith film of the same name, released over a century ago, in which the heroes are members of the Ku Klux Klan. And it is one of the season’s most anticipated and justifiably hyped new releases. This latest BIRTH OF A NATION also is extremely controversial. In fact, it just may be the most debated American film since THE PASSION OF THE CHRIST in 2004.
THE BIRTH OF A NATION premiered back in January at the Sundance Film Festival, where it won both the Audience Award and Grand Jury Prize. Then it was purchased for distribution by Fox Searchlight for a record $17.5-million. Next, it was booked for screening at the Toronto International Film Festival, where its Academy Award hype was supposed to begin in earnest. Then, it was scheduled for a theatrical release.
THE BIRTH OF A NATION stars Nate Parker, who also directed and scripted. Parker plays Nat Turner, a Virginia slave and leader of a failed 1831 slave rebellion. And as a portrayal of black Americans within the history of America, it may be linked to 12 YEARS A SLAVE and SELMA: two recent, highly acclaimed features. However, a couple weeks prior to the start of the Toronto festival, it was revealed that Parker had been charged with and acquitted of raping a woman back in 1999, while a student at Penn State. The alleged victim reportedly committed suicide in 2012, at the age of 30.
Dramatically-speaking, THE BIRTH OF A NATION is a powerful, multilayered work. It is historically significant, as it paints a picture of 19th-century America in a manner that favorably compares to 12 YEARS A SLAVE. Yet my sense is that, for a range of reasons, ten filmgoers will have ten different takes on THE BIRTH OF A NATION. And given the subject explored in the film, combined with Parker’s rape allegation, a host of questions come to the fore.
How may THE BIRTH OF A NATION, whose story is set almost two centuries ago, be linked to present-day issues relating to the plights and fates of black Americans? Should the film be seen and judged on its own merits, rather than on Parker’s personal history? Is there any way that the film’s content will inform and educate viewers of all stripes? Is there a history lesson at work here, or will THE BIRTH OF A NATION only be seen by those who already are sympathetic to its politics? Also, what about the Academy Awards? Should THE BIRTH OF A NATION win nominations only because of last year’s highly publicized controversy, in which no black actors earned citations? Is it worthy of nominations and awards based on its own artistic merits, or should the Parker controversy somehow disqualify it?
In recent times, the works of two other scandal-ridden filmmakers have won nominations and awards. In 2013, Woody Allen earned a Best Original Screenplay nomination for BLUE JASMINE, for which Cate Blanchett won as Best Actress. In 2011, Allen won the Best Original Screenplay Oscar for MIDNIGHT IN PARIS, which also earned Best Picture and Best Director citations. All these accolades came despite his high-profile custody battles and accusation of child abuse.
Then there is Roman Polanski. In 2002, Polanski earned the Best Director Oscar for THE PIANIST, which also won as Best Picture. Polanski was not present to pick up his prize, as he had been convicted of the statutory rape of a 13-year-old girl and was a fugitive from justice since fleeing the U.S. in 1978. So the final question is: The artistic quality of THE BIRTH OF A NATION aside, will Nate Parker’s ethnicity and personal history somehow impact how he and his film perform at the Academy Awards?
Rob Edelman has authored or edited several dozen books on film, television, and baseball. He has taught film history courses at several universities and his writing has appeared in many newspapers, magazines, and journals. His frequent collaborator is his wife, fellow WAMC film commentator Audrey Kupferberg.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.