Lee Daniels’ The Butler (Forest Whitaker, Oprah Winfrey, Cuba Gooding Jr., Terrence Howard, David Oyelowo) – Wow, what a story! What a lovely, well-told, well-acted story. The Butler is the must-see movie to the year so far. Inspired by the true story of a butler at the White House, The Butler serves both as a biopic and a study of the Civil Rights movement. If this were a true story, it would be too good to be true. But it is not a true story; it is merely inspired by one. So this is more Forrest Gump than Lincoln. We see the life of Cecil Gaines from his time as a boy in the racist South where he has to watch his father shot after his mother is raped. He grows up and moves away, eventually finding his way to Washington, D.C. where he tempers his anger and serves as a member of the White House staff through the presidencies of Eisenhower, Kennedy, Johnson, Nixon, Ford, Carter and Reagan.
It is simply amazing how Forest Whitaker, who isn’t Hollywood handsome or a box office presence, manages to perfectly portray wonderful characters with a dominating presence that is as understated as it is memorable. Great casting; perfect performance.
His wife, Gloria, played by Oprah Winfrey, is complex. She is dwarfed by her husband but yet has a strength that we feel. But she is imperfect, too. She is jealous of him and, interestingly, of Jackie Kennedy. She longs to visit the White House, which she eventually does in a most interesting way.
They have two sons. Louis is played by David Oyelowo, who was wonderful in Lincoln, Red Tails, Jack Reacher, and The Help). Elijah Kelly, who showed great promise in Hairspray, portrays Charlie. Louis becomes a Civil Right activist, Freedom Rider, and Black Panther. Charlie goes to Vietnam to fight for his country. This subtext provides the film with rich layers while, at the same time, giving the movie an aura of improbability.
Fortunately, rather than ruin the film, director/producer Lee Daniels (who has the audacity to put his own name on the title) chooses to focus on the White House, its workers and occupants. Daniels draws fascinating contrasts between the African American staff’s subservience and the Freedom Riders’ activism. But it is Cecil’s interactions with the Presidents that mesmerize the audience. The only problem is that, to delve into these relationships, Daniels has to cast the Commanders in Chief, which is always difficult. He wins with James Marsden as Kennedy, Alan Rickman as Reagan, and even Robin Williams as Eisenhower. He misses with John Cusack as Nixon and Live Schreiber as Johnson. Heck, he doesn’t even try with Ford and Carter (I think he just ran out of screen time). We feel like we’re peeking into intimate moments and it is fun. It gives us some insight.
Most of all, we feel like we truly get to know Cecil and how he tempers his inner rage and plays a role shaped by his childhood and molded by years perfecting a craft. As theater, this is wonderful storytelling and acting. What more can you expect from a film?
Daniels directed and/or produced two Oscar-nominated films, Precious and Monster’s Ball, and displays a deft touch here. Whitaker is a sure Oscar nominee for his portrayal of Cecil. Oprah could also get nominated, particularly by the Hollywood set. It is good to see her acting again.
While the film gets a little heavy-handed politically near the end, it is easy to forgive given the wonderful story, historical footage and exceptional acting.