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• Lincoln publicly voiced support for <strong>the</strong> Fugitive Slave Law,<br />

which made every American citizen—North and South—<br />

responsible for catching runaway slaves.<br />

***<br />

Contrary to popular belief, Lincoln’s famous Emancipation<br />

Proclamation did not “free” a single Black person from chattel slavery—<br />

not one. When it looked like <strong>the</strong> Union was losing <strong>the</strong> war, Lincoln<br />

“freed” slaves in <strong>the</strong> South so that <strong>the</strong>y could fight against <strong>the</strong>ir masters. In<br />

that same document he made sure that slavery was not disturbed where it<br />

existed in <strong>the</strong> North!<br />

These are hardly <strong>the</strong> acts <strong>of</strong> a Saviour or <strong>of</strong> a Salvation Army. But<br />

<strong>the</strong>y are truths that dirty <strong>the</strong> image <strong>of</strong> Lincoln, whom Spielberg is posing<br />

as America’s very own Christ figure—<strong>the</strong> man who died for <strong>the</strong> racial sins<br />

<strong>of</strong> a nation.<br />

Spielberg is intent on hiding <strong>the</strong>se important facts, portraying his<br />

subject as <strong>the</strong> avuncular oracle <strong>of</strong> racial kindness. But Spielberg is not so<br />

charitable with <strong>the</strong> Black characters that appear throughout his wartime<br />

fairytale. It opens with a combat scene, but <strong>the</strong> first death we see is a<br />

Black man stabbed in <strong>the</strong> chest with a bayonet—Spielberg preserves an<br />

honored Hollywood tradition that Blacks must be <strong>the</strong> first to die.<br />

President Lincoln is <strong>the</strong>n shown in <strong>the</strong> midst <strong>of</strong> a Union camp<br />

earnestly listening to <strong>the</strong> battlefield accounts <strong>of</strong> two Black soldiers.<br />

Spielberg puts <strong>the</strong>m with <strong>the</strong> Second Kansas Colored Regiment, an actual<br />

Black military unit, though <strong>the</strong>ir encounter with <strong>the</strong> President is totally<br />

fictional. What is troubling is that one <strong>of</strong> <strong>the</strong> soldiers describes a combat<br />

event in which, he says, his colored unit “killed <strong>the</strong>m all”—every last one<br />

<strong>of</strong> <strong>the</strong>m. This is a description <strong>of</strong> a war atrocity—not a battle in which <strong>the</strong><br />

enemy was beaten badly—and it is Spielberg’s way <strong>of</strong> making <strong>the</strong> Black<br />

race responsible for <strong>the</strong> extreme brutality <strong>of</strong> America’s deadliest war<br />

(750,000 dead). The Jenkins Ferry battle was indeed brutal and bloody, but<br />

if an order were given to “kill <strong>the</strong>m all” it would have had to come from<br />

<strong>the</strong> White leader <strong>of</strong> <strong>the</strong> “colored” unit.<br />

Spielberg’s o<strong>the</strong>r Black soldier presses <strong>the</strong> President for equality in<br />

an unrealistically brash dialogue that would have earned him time in a

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