If America had an official “documentarian laureate,” Ken Burns would be a shoo-in for the job.
Over the last four decades, the filmmaker has devoted his career to capturing the country’s history and culture, in works ranging from “Baseball,” “Jazz,” and “The National Parks: America’s Best Idea” to his groundbreaking 1990 masterpiece “The Civil War.” And despite his avowed “yellow-dog Democrat” tendencies, he has done so with remarkable nuance.
Those rallying around the American cause are portrayed as a loose collection of criminals, anarchists, slavers, and exiled aristocrats united by high Enlightenment ideals.
Now, just in time for America’s 250th anniversary, Burns has returned with a new six-part PBS series exploring how it all got started.
Fanfare and apprehension
“The American Revolution” arrives with suitable fanfare — and an almost absurdly star-studded cast of voice-over artists. Tom Hanks, Morgan Freeman, Samuel L. Jackson, Paul Giamatti, Josh Brolin, Meryl Streep, Ethan Hawke, Edward Norton, and Michael Keaton are among the luminaries who provide narration.
Even so, there has been a level of apprehension surrounding the show, particularly among conservatives. Could a commemoration of America’s founding even work in our current moment — when even mild appeals to patriotism and national unity seem to stir up bitter partisan disputes?
Burns seems to have a found a way around this by making his retelling as clinical and unromantic as possible. He is clearly passionate about the American project, but he is unwilling to embrace the mythological or nationalistic sides of that passion.
Whose revolution?
“It’s our creation story,” historian Rick Atkinson says as he discusses the importance of the Revolution. But most of the experts Burns showcases prefer to focus on the negative, puncturing what one calls the “unreal and detached” romanticization of the founders.
Instead, we’re invited to ponder the role that slavery and the theft of Native American land played in the fight for independence — not to mention a fair amount of unsavory violence perpetrated by the revolutionaries.
While the series does a good job of covering the conflicts between 1774 and 1783, it takes frequent detours to discuss the issues surrounding the revolution: the role of women contributing to the war, the perspectives of English Loyalists as they became refugees fleeing the conflict, the madness of the Sons of Liberty’s antics, and the perspectives of slaves trying to survive and find liberty too.
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Living in the tension
A pronounced classical liberalism pervades the storytelling, one reflecting the secular Enlightenment idealism that a “new and radical” vision for mankind could be found through self-determination and freedom, apart from the aristocratic and theocratic haze of Europe.
This vision acknowledges progressive criticism of the era’s slavery and classism, but tries to integrate those faults rather than use them as grounds to discard the entire experiment. It attempts to live within the tension of history and sift out what is still valuable, rather than abandon the project altogether.
Indeed, Burns is generally good about avoiding any sort of score-settling or modern politicking, shy of a few buzzwords. He constantly uses the word “resistance” and ends with a reflection on the potential ruination of the republic by “unprincipled demagogues,” proudly quoting Alexander Hamilton that “nobody is above the law.”
The show’s consensus is overwhelmingly that the values of the Revolution were greater than the severely flawed men who fought it. To Burns, it was not merely a war, but a radical ongoing experiment in human liberty that escaped the colonies like a virus and changed the world forever. He certainly doesn’t want to throw out the liberal project, and so he constantly circles back on defending the war’s idealism.
Idealism and discomfort
This accounts for the show’s title, focusing on its revolutionary implications. It wasn’t just a war, but a change in the way people thought. The show argues that “to believe in America … is to believe in possibility,” and that studying the Revolution is important to understanding “why we are where we are now.”
Unfortunately, the intervening 12 hours require the viewer to swallow a fair share of dubious and rather inflammatory claims, including that George Washington was primarily driven by his class interests as a landowner, that popular retellings often “paper over” the violent actions of the revolutionaries, and that the founders were, on balance, hypocrites.
Its overall perspective is that it is impossible to tell the nation’s origin story in a way that is “clean” and “neat,” with clear heroes and villains. Those rallying around the American cause are portrayed as a loose collection of criminals, anarchists, slavers, and exiled aristocrats united by high Enlightenment ideals.
“The Revolution” wants both this idealism and discomfort to sit equally in your mind, as you ponder how morally compromised men could change the world. As one of the historians asks, “How can you know something is wrong and still do it? That is the human question for all of us.”
Overall, Ken Burns’ latest proves a very bittersweet watch, hardly the sentimental reflection on Americanism that the country’s approaching 250th anniversary demands, but also too idealistic and classically liberal to comfortably fit anyone’s agenda. It wants to lionize the founding’s aspirational values of democracy, equality, and revolution, while assiduously avoiding praising the people involved.
It’s a remarkably watchable and entertaining work of sober disillusionment.
Entertainment, Culture, Television, Pbs, Ken burns, Documentaries, Film, The american revolution, History, Review