The story of the 1831 slave rebellion led by slave preacher Nat Turner, who struck the fear of God into Virginia plantation owners, the film was initially hailed for its pertinence in the age of Black Lives Matter as a searing indictment of the hypocrisy of white America.
But after stories emerged of Parker’s trial and acquittal on a rape charge in 1999 and the death of his accuser by suicide in 2012, the negative publicity around the incident saw a sharp drop in the film’s support, an unwelcome headache for Fox Searchlight who bought the rights to the film for a record $17.5-million following its Sundance success.
While the controversy may be of little relevance to audiences in South Africa, it has followed its creator across the social media sphere and at festivals around the world over the course of the past year. What remains to evaluate is the film itself.
While it’s easy to see the relevance of the 19th century story to the racial situation in present day US society, Parker’s handling of his material displays the subtlety of a jackhammer and glides over any nuances or complexities in the character of Turner or the motivation for his actions.
In a period in which films such as 12 Years A Slave and Django Unchained and television series such as The Book of Negroes and the recent Roots reboot have set a high bar for depictions of the brutality of slavery, Parker’s film is surprisingly safe, non-confrontational and too often clichéd in both its thematic concerns and its cinematic choices.
Cloying music, obvious slow motion scenes and ponderous close-ups do Parker no favours and provide an unnecessary distraction from the emotional impact of the story.
While Turner’s story has shamefully not received enough attention from film makers, this Braveheart-style, broad-strokes, easily-resonant, film should not become the go-to representation of a fascinating man and his moment.
Without the uncertainty and indignation of the moment in which it appeared, what remains is a flat, overlong, unfocused and disappointingly conventional biopic. Within the cinematic history of the treatment of slavery and its realities, it is a step backwards and is a demonstration more of the narcissism of its creator than a testament to the heroism of its subject.
WHAT OTHERS SAY
This isn’t a particularly compelling or well-made film. It’s very much the work of an ambitious beginner, corny in some places, pretentious in others. — Rick Kisonak, Seven Days
SOAPBOX didacticism and complex drama can never coexist. — Nigel Andrews, Financial Times
It offers a troubling tangle of the personal and historical. But above all else it’s commercial, an entertainment of purpose and some power. — Alan Scherstuhl, Village Voice
