Film Review: Gods and Generals (2003)

If current trends continue, US Civil War might represent a challenge to future archaeologists, due to absence of monuments and memorials. They are recently being removed under pressure of influential “wokesters”, apparently unhappy over conflict being fought mainly by white cisheterosexual Christian men. This iconoclastic process might be seen as misguided and catastrophic in long term, but, on the other hand, it might have started with some sound arguments and legitimate grievances against some of the more questionable interpretations of US Civil War, one of which is used in Gods and Generals, 2003 epic directed by Ronald F. Maxwell, known as one of the most controversial Hollywood films of 21st Century.

Gods and Generals represents a prequel to Gettysburg, 1993 two-part television miniseries which is highly regarded as one of the most spectacular, most ambitious and most accurate screen depiction of US Civil War. The series dealt with eponymous 1863 battle and was based on The Killer Angels, Pulitzer Prize-winning novel by Michael Shaara. His son Jeffrey Shaara in 1996 wrote Gods and Generals, novel that depicts two years before the battle, followed by Last Full Measure in 1998, which covered events after the battle and three novels are often seen as part of trilogy. The film was produced by media mogul Ted Turner, producer of Gettysburg who wanted to adapt two remaining novels. The plot begins in Spring 1861 when highly respected US Army engineering officer Robert E. Lee (played by Robert Duvall) resigns from his commission after his native state of Virginia seceded from Union and later joins newly created Confederate States Army. Major Thomas Jonathan Jackson (played by Stephen Lang), professor at Virginia Military Institute, also joins CSA. At the same time Joshua Chamberlain (played by Jeff Daniels), college professor from Northern state of Maine, joins 20th Maine Infantry Regiment of Union Army. The plot is mostly focused on Jackson, who proves to be immensely talented military leader, earning the nickname “Stonewall” during First Battle of Bull Run. Jackson would later fight under Lee whose Army of Potomac, despite being numerically and technically inferior to Union forces, scores spectacular victories at battles of Fredericksburg in December 1862 and Chancellorsville in May 1863, during which Jackson gets mortally wounded.

Gods and Generals was, like Gettysburg, an impressive effort in terms of scale. Its budget of 60 million US$, provided mostly from Turner’s own pocket, resulted in spectacular recreations of major battles with large number of extras and great care about period details. However, inevitable comparisons between the two clearly pointed towards latter film being vastly inferior. The most notable differences are in the cast, with some of its members being unable to repeat the roles from ten years earlier and being replaced not always with the best results. Martin Sheen, who has very effectively played Lee in Gettysburg is replaced with much more bland and less impressive Robert Duvall. Stephen Lang, who made such great impression as unfortunate General Pickett ten years earlier, here plays completely different character of Stonewall Jackson. Only Jeff Daniels repeats the role of Joshua Chamberlain, which is rather unimpressive due to poor script and bad dialogues.

Another issue that plagues Gods and Generals is its length, which is rather unsuitable for the film that covers two years of war. Originally it was supposed to be made in two parts or released as miniseries, but at the end decision was made to turn into feature with more than three and half hours. The film is both overlong and rushed as a result, with plot dealing mostly with battles that just happen to be major Southern victories. This also points to the issue that ultimately wrecked Gods and Generals among the critics – pro-Southern bias, which is so different from the more balanced approach of Gettysburg. In order to create sympathies for Southerners and their ultimately doomed cause, Maxwell’s script takes somewhat creative approach towards history, suggesting the issue of secession wasn’t about the slavery and that even such iconic Southern leader like Jackson believed that his homeland’s “peculiar institution” would be ultimately abolished without pesky Northerners infringing on Southern state’s rights.

Turner might have believed that during patriotic hysteria following 9/11 and calls for national unity his pro-Southern treatment of Civil War, like in similar instances before, could be acceptable. He was very wrong and it became apparent when most of the critics and historians accused film of promoting Lost Cause mythology and called it right-wing racist propaganda, even comparing it with controversial The Birth of a Nation from one century earlier. This led to Gods and Generals completely failing at the box office and Turner abandoning his plans for the sequel. But, most importantly, precedent for cancelling pro-Southern works of art was set, being applied first on screen and later in real life.

RATING: 3/10 (+)

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