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Today's Date is:

Glory


Reviewed by: Tom Reynolds
Genre: Drama/war
Video: Widescreen anamorphic 1.85:1(disc 1); Full screen 1.33:1 (disc 2)
Audio: Digital 5.1, 2.0 surround
Language: English, French, Spanish, Portuguese
Subtitle: English, French, Spanish, Portuguese, Chinese, Korean, Thai
Length: 118 mins.
Rating: R
Release Date: January 30, 2001
Studio: Columbia Tristar
Commentary: Director Edward Zwick
Documentaries: "The True Story of Glory Continues"
Featurettes: "Voices of Glory," "Untitled"
Filmography/Biography: Zwick and four cast members
Interviews: None
Trailers/TV Spots: Theatrical trailers: "Glory," "A Soldier's Story," "Devil In A Blue Dress"
Alternate/Deleted Scenes: Two deleted scenes
Music Video: No
Other: No
Cast and Crew: Matthew Broderick, Denzel Washington, Cary Elwes, Morgan Freeman, Jihmi Kennedy, Andre Braugher, John Finn, Cliff De Young, Bob Gunton, Jay O. Sanders
Screenplay by: Kevin Jarre
Produced by: Freddie Fields
Directed By: Edward Zwick
Music: James Horner
The Review: Soon after Lincoln freed the slaves in 1863, the United States Army was opened up to blacks for the first time, and the first to respond were those who eventually made up the "54th Massachusetts," who would go on to lead an historic assault on a strategic target, located on a peninsula in South Carolina. "Glory" is their story. It is also the story of twenty-six-year-old Colonel Robert Gould Shaw, a Boston abolitionist who puts his beliefs on the line when he takes command of the 54th and determines to make soldiers of them. Which he does. He trains them and stands by them, watching as they form the bond that ultimately sees them through the battles they must fight on the field and off. There were those who felt that blacks would be worthless in battle; Shaw made it his business to prove them wrong. When the Army reneges on the amount of pay due the men of the 54th-- they had enlisted with the promise of thirteen dollars a month; they were now offered ten, minus three for clothing expenses, or a real sum of only seven dollars a month, the wage black laborers were paid-- they stand together and refuse to take any pay at all, if it is not the full amount. Sympathizing with his men, Shaw-- and all of his officers-- join them in their protest by tearing up their own pay envelopes. This is not only a pivotal point of the film, the moment which cements Shaw's own bond with his men, but historically accurate, as well, as are all of the events portrayed in this film. Director Zwick was adamant about adhering to historic fact and authenticity, from the events themselves, to the smallest, seemingly incidental details they put up on the screen. In the beginning, however, Shaw has no idea of the formidable task awaiting the 54th on that stretch of beach in South Carolina. Fort Wagner maintains a strategic position in Charleston Harbor, has a geographic advantage, is well manned and heavily armed. And the Federal troops have been ordered to take it at any cost. A veritable suicide mission, the odds of success are practically non-existent, so before ordering troops against it, the commander of the Federal troops asks for volunteers. And Shaw steps forward, not to send his men to their deaths, but to lead them into battle. It's an almost romantic notion of gallantry, all the more involving because it really happened. Shaw did indeed lead his men against Fort Wagner, and the outcome is a matter of historic record. Zwick is to be commended for staying with the facts, without embellishing anything merely for dramatic effect-- which wasn't necessary anyway; the historic account of the battle is dramatic enough as it is. And that's the kind of honesty Zwick gives you with this film, the intensity of which is aided by an accurate and insightful screenplay, and some outstanding performances. Denzel Washington received the Oscar for Best Supporting Actor for his portrayal of Trip, and after you've seen him in this film you know why. Matthew Broderick is exceptional, as well, fleshing out Shaw and making him a real man, rather than just a character out of a history book. Elwes, Freeman, Braugher and Kennedy have to be mentioned, too, for their contributions to this film are beyond measure. And the result of their combined efforts is "Glory," an unforgettable and engrossing motion picture.
Image and Sound The transfer of this film to DVD is quite good, with an excellent picture devoid of any signs of wear or debris. The images are without exception sharp and detailed, with good depth and clarity that extends even to the extreme sides of the screen. The colors come through beautifully, even in the darker scenes, which is important as much of this film has a nighttime, or at least a bleak and overcast background. The predominant colors are earthy greens and browns, and light blues, all of which are vivid, even the pale blue of the sky that frames Broderick as he stands on the beach before the battle of Fort Wagner. And the various shades of red-- and there are many-- are rich and strong. The sound, which is extremely important in bringing this film to life, is full and resounding. All of the little noises in and around the campsites or the battlefields are clear and distinct, which puts you into the action, and the predominant sounds, like the thunder of the canons, the explosions and the cracks of the rifle shots, are absolutely sonorous. The dialogue is always clear and never compromised, even in the heat of battle, and the balance and integration of the music, dialogue and noise is perfect. Even at the peak of a pitched battle, when everything is about as loud as it can get, there is never any noticeable distortion. I found both the picture and sound of this disc to be of the highest quality.
The Extras "Voices of Glory" is a short featurette about the "Glory" regiment, the Massachusetts 54th volunteers, the first black soldiers to participate in the Civil War, and who made history as the vanguard of an assault on Fort Wagner, S.C., on July 18, 1863, lead by Colonel Robert Gould Shaw. Shaw was a twenty-six-year old abolitionist from Boston, who put his beliefs on the line to lead the 54th, and his troops didn't let him down; their valor during the assault on Wagner proved once and for all that blacks could fight as well as anyone for their country, and it demonstrated their willingness to die for the cause. Historian James Horton points out that although they comported themselves with dignity and that their bravery was a matter of record, they returned home, not as heroes, but to blatant prejudice and bigotry. Promised pay of thirteen dollars a month, they were offered ten dollars a month, minus three dollars for clothing; seven dollars a month for doing the same job as the white men who were being paid the full amount. In a show of solidarity, they refused the lesser pay, tearing up their pay envelopes-- and Shaw joined them, along with the rest of the officers of the 54th. In September of 1863, Corporal James Henry Gooding wrote to President Lincoln protesting their treatment, especially with regards to their pay, in the wake of the gallantry they had demonstrated on the field of battle. The letter was never answered; but in 1864, Congress passed a bill equalizing pay for all soldiers of the U.S. Army. The second featurette (Untitled), is a brief look behind the scenes during the making of the film, with comments from Edward Zwick ("This film has to do with a dignity that transcends race, and of boys becoming men") and members of the cast (Broderick tells of a friend warning him to be careful with anything dealing with the Civil War, likening it to "Taking something down from the altar"). It's a look at the 54th Mass., and the four years it took producer Freddie Fields to bring their story to the screen, touching on the use of "Civil War reenactors" who were an integral part of making the film, and the authenticity and historical accuracy with which the story is portrayed. There are two deleted scenes, with optional commentary by director Zwick. The first, "The Apple Picker," takes place on James Island, S.C. on July 16, 1863, two days before the assault on Fort Wagner. Zwick liked this scene very much, but relates what Truffaut said about cutting a movie, that essentially, "You end up killing your children," making difficult decisions about things you love. That's the way it was for Zwick with this scene, in which Washington's character, Trip, kills a man for the first time, a fifteen-year-old boy on picket duty for the Confederates. Though it's a powerful scene, Zwick realized that it was redundant, that Trip's character is established even better in a similar scene later on, and that by removing this scene, it made the next one even stronger. Zwick didn't have to agonize over the second deleted scene, "A Crisis of Conscience," which involved a moment between Shaw (Matthew Broderick) and Forbes (Cary Elwes). It was a bad scene, according to Zwick, not very well written and badly directed. It took place earlier in the film, and he had no problem cutting it out. On a positive note, he points out that at least the actors learned something about their characters by playing it, though it was of little value to the overall film, which is why it was cut. The documentary, "The True Story of Glory Continues," is an in-depth look at the 54th Massachusetts, aptly narrated by Morgan Freeman who begins by saying that when Lincoln freed the slaves in 1863, he "Put the Civil War on the side of the angels," and with the stroke of his pen united the Union forever with the battle cry of freedom. Soon thereafter, the Army was opened up to blacks, and the 54th was the first regiment formed. This documentary is a chronicle of their history, from their inception to the historic assault on Fort Wagner and beyond; about the challenges they faced, the fortitude that drove them on and the dignity with which they fought and died. But the battle of Fort Wagner is the one for which they are remembered, the one with which they made their mark, and proved beyond any doubt what they were made of. Shaw was proud to lead them into battle that day, and he died on the parapet of the fort, along with nearly three-hundred others of the 54th. The attack that day was a disaster. Another assault was launched by the Federal troops the next day, but it also ended badly; finally they laid siege to the fort, and after fifty-eight days prevailed, when seven-hundred and forty Confederates abandoned their position, and the fort was occupied by the North under the command of General Gilmore. Soon afterwards, black regiments began to spring up throughout the country, and soon there were more than a hundred. The 54th again made their mark on February 20, 1864, at Olustee Station, Florida. General Seymour had engaged the Confederates and was being beaten badly; his troops, in fact, were being slaughtered on the field of battle, and those who withdrew were being chased down by crack Confederate Calvary. Such was the situation the 54th encountered when they arrived at the battlefield. Quickly they fell into the fray and began a delaying action, attempting to hold the line while the routed Federal Army retreated to regroup. The 54th held fast, and because of them, General Seymour's men were able to retire effectively. The general consensus is, that without the assistance of the 54th, all of Seymour's troops would have been lost that day. The documentary follows the 54th through further engagements at Honey Hill, S.C., on November 30, 1864, and at Boykins Mill, S.C., on April 18, 1865, nine days after Lee's surrender at Appomattox. By the end of the war, the 54th had suffered more than fifty percent casualties, and were mustered out without ever having been given the recognition for their efforts and accomplishments that their white counterparts had. Ironically, it seems that the 54th are remembered as much for their stand against the disparity in pay they suffered, as for their heroic assault on Fort Wagner and at Olustee Station. A well made documentary, effectively presented by Morgan Freeman, it serves as a perfect companion piece to this film, and is definitely an asset to this DVD.
Commentary There are two options with this commentary, both of which features director Edward Zwick: The usual narrative format, or a "picture-in-picture" format, which is essentially the same, but with a box picture of Zwick inserted in the lower right hand corner of the screen, so you can actually watch him as he narrates, as well as watching the film (this one I found to be a bit distracting, as it makes it harder to assimilate what he's saying while trying to watch him and the scene he's addressing at the same time). Zwick does a good commentary; he talks a lot-- rarely coming up for air, it seems-- but he has an engaging manner and stays focused throughout the entire film, talking you through it scene by scene, and always staying with the particular scene that's being played. And he doesn't concentrate on any one aspect of the film, or how it was made. He has very informative and interesting things to say about the story, including a lot of historical background and the authenticity and historical accuracy they strove to maintain, the characters and the actors who played them, logistic and weather problems they encountered, the use of Horner's dramatic score, special effects, photography, editing and just about everything else that went into the making of this film. Most importantly, I cannot recall a single instance in which he said anything that was not significant or did not pertain to the film in some way, which I feel is very impressive in itself; this was obviously a labor of love for Zwick, and it is commendable that he was able to put his own ego aside in order to share his experiences with us in this track. He points out that they made this film for nineteen million dollars; the budget was tight, and he is outspoken in his admiration of the many Civil War "reenactors" who worked on and in this film, serving as advisors as well as providing a huge contingent of troops for some of the battle scenes. He refers to them as "Living Historians," many of whom spend a great deal of their time annually recreating some of the famous (and not-so-famous) battles, and keeping the memory of the Civil War alive. Much of what went into the screenplay was gleaned from the actual letters written home by Colonel Shaw, which are now kept in the Houghton Library at Harvard University. A lot of footage Zwick shot of Shaw, which introduced him before he enlisted in the Army, was discarded when Zwick realized that it was more effective to have Shaw in uniform when you first see him, and by using Shaw's letters for the juxtaposition he needed, it gave you everything you needed to know about the character. One of the biggest shots in the film was the opening sequence of the battle of Antietam, in which they employed some two-thousand cast members and extras. This scene contains the most graphic element in the film-- you see a soldier's head explode as it gets shot off-- and Zwick did it to establish that thought in the viewer's mind early on, which made showing anything like it again unnecessary, as that image had been firmly planted and would subsequently always be anticipated. And it proved to be very effective. He speaks of having trouble, initially, getting the "look" he wanted from cinematographer Freddie Francis, who couldn't seem to grasp Zwick's vision. Ultimately, he got through to Francis, and he ended up being very pleased with the result. Denzel Washington, he notes, displayed a captivating presence from the first scene in which he appeared, and that thereafter, he dominated any scene he was in, even if his character wasn't the focal point of it. He cites the scene in which Washington, Freeman and Braugher first get together in a tent as establishing the "heart" of the movie, as this is the moment when that special bonding occurs, when the relationships are formed that have such an impact on all that happens later. And it was there that Washington found the "humor" of his character, that was so necessary in making him three-dimensional; without that element, Trip would've been nothing more than just another angry, embittered man, which ultimately would have been tiresome. There are certain scenes that he especially likes, or which he feels are pivotal in some way to the story-- at Christmas, for example, he feels the juxtaposition between the officers, in their comfortable surroundings, and the enlisted men in their tents, was a kind of storytelling in itself, because it said so much about their whole situation, what made them alike and what separated them. Another telling scene is when Shaw tears up his pay envelope in support of his troops, which establishes his sympathies with them beyond any doubt. The final scene in the film, "The" scene, was the assault on Fort Wagner, which Zwick prepared with painstaking care. He realized how important it was to set up the geography and positions, as well as the terminology, so the audience could anticipate what was to come without getting lost. For this scene, they built a fort some twenty to thirty miles from the actual location of the real Fort Wagner. One part of the scene he especially loves is when Shaw volunteers his men to lead the assault: "The insanity of that, the bravery of that, the presumption of that, the beauty of that, is in some way central to the story. Because, essentially, he was volunteering them all for their deaths. And his own death." He feels the silence that precedes the battle is very effective, and is outspoken about Horner's instincts with the score, which he feels is so sublime, and has such a powerful, operatic quality; and he notes Horner's unabashed willingness to go for those sentiments, which he considers extraordinary. He had seven-to-eight-hundred people for one day to use in that scene, after that he had no more than a hundred and fifty at any one time, which made it necessary to make sure that the frame was filled with people and debris from end to end, to give the appearance of numbers. Looking at it now, Zwick says he shudders to think what he could've done with the computer graphics that are available today. Nevertheless, the scene is rendered perfectly; intense, emotionally involving and exciting, it proved to be a tremendous climax to an extraordinary film. And Zwick gets the highest marks from me, not only for making a great movie, but for providing an excellent commentary track to go along with it.
Final Words: Broderick's friend was right; the Civil War is not a subject to be taken lightly. And that's what makes this film so gratifying. Zwick obviously took painstaking care to bring this story of the 54th Massachusetts and Robert Gould Shaw to life as accurately as was humanly possible, and I think without a doubt, he succeeded. This is a story that is bound to touch anyone who sees it in one way or another, because it fairly resonates with that sense of who we are and where we've been. The DVD is excellent quality, and with an outstanding commentary track, as well as a widescreen or full screen format from which to choose, this is one that anybody would be glad to have in their library.


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 June 17, 2001