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Steven Spielberg's debut film for DreamWorks Pictures, "Amistad," stars a distinguished cast led by Morgan Freeman, Anthony Hopkins, Djimon Hounsou and Matthew McConaughey. Earning acclaim for its filmmaking and power, "Amistad" was honored with four Academy AwardTM nominations including Best Supporting Actor (Hopkins), Best Music, Best Costume Design and Best Cinematography. Based on a true story, the movie chronicles the incredible journey of a group of enslaved Africans who overtake their captor's shop and attempt to return to their beloved homeland. When the ship, La Amistad, is seized, these captives are brought to the United States where they are charged with murder and await their fate in prison. An enthralling battle ensues that captures the attention of the entire nation, confronting the very foundation of the American justice system. But for the men and women on trial, it is simply a fight for the basic right of all mankind...freedom.
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Steven Spielberg's most simplistic, sanitized history lesson, Amistad, explores the symbolic 1840s trials of 53 West Africans following their bloody rebellion aboard a slave ship. For most of Schindler's List (and, later, Saving Private Ryan) Spielberg restrains himself from the sweeping narrative and technical flourishes that make him one of our most entertaining and manipulative directors. Here, he doesn't even bother trying, succumbing to his driving need to entertain with beautiful images and contrived emotion. He cheapens his grandiose motives and simplifies slavery, treating it as cut-and-dry genre piece. Characters are easy Hollywood stereotypes--"villains" like the Spanish sailors or zealous abolitionists are drawn one-dimensionally and sneered upon. And Spielberg can't suppress his gifted eye, undercutting normally ugly sequences, such as the terrifying slave passage, which is shot as a gorgeous, well-lit composition. At its core, Amistad is a traditional courtroom drama, centered by a tired, clichéd narrative: a struggling, idealistic young lawyer (Matthew McConaughey) fighting the crooked political system and saving helpless victims. Worse yet, Spielberg actually takes the underlying premise of his childhood fantasy, E.T. and repackages it for slavery. Cinque (Djimon Hounsou), the leader of the West African rebellion, is presented much like the adorable alien: lost, lacking a common language, and trying to find his way home. McConaughey is a grown-up Elliot who tries communicating complicated ideas such as geography by drawing pictures in the sand or language by having Cinque mimic his facial expressions. Such stuff was effective for a sci-fi fantasy about the communication barriers between a boy and a lost alien; here, it seems like a naive view of real, complex history. --Dave McCoy
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