“He My Boss, Not My Massa”

This is a deleted scene from the movie, “Gods and Generals”.

About Kevin Levin

Comments

  1. Larry Cebula says:

    I threw up just a little bit.

  2. Kevin Levin says:

    My Civil War Memory class spent three days viewing and analyzing specific scenes from “Birth of a Nation”. I hope to give them a sense of change over time as well as an understanding of the continued popularity of Lost Cause themes.

  3. The act of emancipating one's slave was much more complicated than merely giving him/her “freedom papers,” whatever those might be. The laws varied from state to state, but they always involved a court process, and in many, if not most, southern states also had other stringent conditions, put into place during the decades prior to the war to prevent emancipations. How would a rebel soldier, away from home and in wartime conditions, have gone through the necessary legal process? A slave owner might well have said to his/her slaves as the Union army approached, “you're free to go,” with bitterness or perhaps hopes of enticing the slaves to stay and work, but such statements carried no legal weight and had the Confederacy ultimately won would not have been viewed as legitimate.

  4. Kevin Levin says:

    You are absolutely right. In fact, some states made illegal to free slaves at various points or mandated that the freed slave must leave the state.

    The bigger problem with the scene is (along with much of the rest of the film) that it fails to move beyond the level of cliche. The viewer is left with little understanding as to why these black men are with the army and how they conceptualize the war. The individual in this scene is confused about what he will do next now that his former master is dead. All he knows to do is to escort the body home and then he will take stock as opposed to the tens of thousands who are fleeing to the Union army or free territory. I would love to know why this scene was deleted.

  5. Dan Wright says:

    I think the filmmaker here has exploited the theater/film/literature tradition of suspension of disbelief, where I'm willing to set aside judgement in favor of being entertained. I'll do that for a James Bond movie, but not so much for a so-called historical film. Maybe that's why Maxwell deleted this scene – he might have known that he was stretching our suspension of disbelief beyond its limits.

  6. Kevin Levin says:

    I would like to believe that, but I suspect that it was simply deleted owing to the length of the movie. Cutting this particular scene still left us with a 4-hour plus movie of Civil War silliness.

  7. msimons says:

    I'll get you some Tums. Come on Larry it is a cut piece of film that someone got off the Directors cutting room floor. Relax 95% of the general population will never see it and very few have seen the movie.

  8. Kevin Levin says:

    It's a cut piece of film that reflects Maxwell's oversimplified and distorted view of the Civil War. It's modern-day Lost Cause garbage that confuses the place of black southerners in Confederate ranks.

  9. msimons says:

    That is the reason I have not wasted my time or money to watch it yet. It got panned all over. I might rent it during Christmas break to see if you and Larry are just over reacting about the whole thing.

  10. Kevin Levin says:

    Best of luck to you. I failed to get through it even after paying to see it in the theater.

  11. msimons says:

    It can't be worse than Birth of a Nation which is a Klan Propaganda piece.

  12. Kevin Levin says:

    I actually think that Birth of a Nation is 10x more sophisticated and interesting compared with Gods and Generals.

  13. Larry Cebula says:

    Oh I wish it had been in the movie–it tips the director's hand and shows the Lost Cause interpretation that is at the heart of the film.

  14. Larry Cebula says:

    I would actually agree that Birth of the Nation is a better film. The most disturbing thing about Birth of a Nation is that is both (exactly as Msimons says) a Klan propaganda piece and simultaneously a landmark breakthrough in American film making. You want to ignore it but you cannot.

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