Watching the historical biopic The Conspirator is similar to visiting the Hall of Presidents at Disney World. It’s well put together and has educational value, but the figures presented appear stiff and dry, negatively impacting the message.
The film does not focus on President Lincoln himself or the fateful night at Ford’s Theatre, but instead on the courtroom-set aftermath of his assassination. The plot truly begins with the military’s arrest of Mary Surratt (Robin Wright), a woman accused of housing the group behind the assassination and whose son had ties to the murder. Begrudgingly assigned to her case, attorney Fredrick Aiken (James McAvoy) is forced to present legal defence for the woman in court.
In spite of his initial disgust, Aiken overcomes his predisposition, and, as the lengthy, military-run trial proceeds, he comes to the realization that Surratt is not receiving proper due process and that the exercise is merely a formality. Regardless of her involvement in the assassination, or lack thereof, the woman will be found guilty and sentenced to death. Driven by frustration and the discovery that he is quickly becoming as hated by the public as his client, Aiken attempts to provide every possible resource to protect Surratt.
Director Robert Redford tries hard, but ultimately falls short of many films that deal more urgently with the potential horrors of mob mentality and injustice (12 Angry Men leaps to mind). Though some of the roles are effectively cast — Tom Wilkinson is strong as Reverdy Johnson, for example — the film introduces too many superfluous characters, including odd choices Kevin Kline as Secretary of War Edwin Stanton and Justin Long as Nicholas, a fellow lawyer and friend to Aiken. As the stunt casting novelty disappears, the pacing grinds to a halt and the film becomes a long-winded courtroom drama. Talented cinematographer Newton Thomas Sigel (X-Men) shoots these scenes in a brownish, diffused manner, unintentionally adding to a sleepy, subdued tone.
McAvoy and Wright perform admirably, but they aren’t helped by the screenplay’s depiction of the characters and its attempts to tie its themes with recent political administrations. It may have seemed an interesting parallel to the filmmakers, but the movie strains to make the point and feels stilted.
As written, Aiken is a strange choice for a protagonist. Admirable as the real figure’s efforts may have been, in the film he’s a biased and ineffectual defender early on. He eventually modifies his political views, but rarely seems like valuable counsel, but the screenplay is so determined to mold him into a hero that the writer must resort to an end title card to assert that Aiken’s efforts stood as an “inspiration” for legal reform many years later.
Furthermore, the movie offers few answers as to Surratt’s involvement, motivations and feelings. She’s obviously devoted to her son and understandably angry at her unfair treatment. Unfortunately, her hard, obstinate nature presents problems for viewers. We don’t get to know Surratt intimately enough, so later emotional scenes intended to provide dramatic weight carry far less impact.
The Conspirator is capably made with some good performances, but too mannered to eke out any poignancy. It isn’t a bad movie – but sadly, it is never dynamic, exciting or engaging as a historical drama.
2.5 out of 5
