We fight for men and women whose poetry is not yet written, but which will presently be as enviable and renowned as any.

Rating: 9/10 (9 September 2009)

Though the American Civil War has not spawned the same number of classic films as either World War II or the Vietnam Conflict, Director Edward Zwick's moving, important, and expertly-assembled 1989 film Glory finds its message and setting in the midst of the bloodiest conflict in American history. Though the winner of three Academy Awards, including Best Supporting Actor (Denzel Washington), Best Cinematography, and Best Sound, neither the film, its director, nor its composer earned nominations, both the Best Picture and Best Music, Original Score nomination snubs perhaps two of the great injustices in the history of the award. Not only a well-made film from a technical perspective, Glory takes audiences on a moving spiritual and emotional journey that sees the corruption, repression, and prejudices of the day breed not contempt or hatred but rather a bond among men with not the color of their skin their defining attribute but rather their moral code, spiritual foundation, and unwavering desire for equality not only in the safe haven of their tents but on the front lines of combat.
Robert Gould Shaw (Matthew Broderick), a 23-year-old U.S. Army Captain and survivor of the Battle of Antietam, accepts an appointment to lead the 54th Massachusetts Volunteer Infantry, the first unit to be comprised of black soldiers. With the new position elevating him to the rank of Colonel, Shaw oversees a band of eager yet unskilled men determined to fight. They include Shaw's longtime friend and intellectual, Thomas (Andre Braugher); a levelheaded man named John Rawlins (Morgan Freeman); the smooth-talking Tennessean, Trip (Washington); and the sharpshooting Jupiter Sharts (Jihmi Kennedy). With the help of his friend, Major Cabot Forbes (Cary Elwes) and a hard-nosed Irish drill instructor (John Finn), the regiment becomes skilled and disciplined in the ways of modern warfare but are prohibited the tools and necessities needed to carry out their duty as soldiers thanks to both politics and bigotry. Among their obstacles are reduced pay and a shortage of adequate footwear. Nevertheless, Shaw's determination, family's stature, and leadership sees the men through, culminating in earning them the privilege of facing the enemy head-on and proving their worth as both soldiers and men.
Thematically, Glory is a triumph despite plot developments that lend to it an air of tragedy. The film uses tragedy to accentuate the plight of oppression and prejudice; to highlight the absolute good of the men and their mission; and to reinforce the bonds of brotherhood that develop by film's end, where a man's skin color, education, or other artificial social and political boundaries blur in favor of trust, belief, courage, and loyalty to both one another and to a greater cause. Whether at the end of the lash or in the face of impossible odds against a well-fortified enemy, the film's most agonizing, depressing moments serve to reinforce the positive themes of courage and equality, lending to both the film and its themes not insincere drama but rather an honest and profound portrayal of true heroism against a backdrop that sought only to deny the men the very opportunities for which they so valiantly wish to fight and, if need be, die.
Glory strives not to entertain, preach, or inform, but rather to tell an uplifting, important story that not only documents a slice of American history but also sets out to inspire its audience to learn the value of courage, integrity, and brotherhood in the face of any obstacle. The film delivers a stirring recount of the power of basic human principles that, when championed, win perhaps not the day but, ultimately, influence the greater good through example. The men of the 54th Massachusetts are remembered not necessarily for the color of their skin but rather for their bravery, for their ability to unite, for their desire to strive for something greater than the individual, to face head-on enemies on either side of the rifle barrel only in the hope of overcoming life-inhibiting obstacles. Neither the color of their skin nor whether they live or die matters; it is their understanding of fundamental human principles, of their desire for good, of their unwavering spirit, for which history remembers them, and by which Glory positively succeeds as a film, for it captures not the superficialities of skin color but rather the underlying principles of the men who fought not as individuals but as brothers that makes their story so profound and important even some 150 years later.
Bringing the film and its meaning to life are a series of phenomenal performances on either side of the camera. Denzel Washington's Oscar-winning role both electrifies and pulls the heartstrings, his character representing the core of the film as a man that seems to be in control of his person and place in the world but whose soul is as wayward as any man's in the regiment. Throughout the course of the film, his character sees several transformations, beginning as a man that cowers from his past and demons by belittling his peers, growing into a man that understands the role of honor and responsibility but unsure of his role in accepting it, and maturing into a stalwart man that exemplifies courage and honor. One of the film's best scenes sees his character, Private Trip, steady a shaky and fearful Private Thomas moments before an assault on a fortified enemy position, marking his final turning point from a recalcitrant and confused man to a dependable and strong brother-in-arms. The film also features several standout performances both among both the primary cast -- Matthew Broderick, Cary Elwes, Morgan Freeman, Jihmi Kennedy, and Andre Braugher -- and the secondary players -- Bob Gunton, Cliff De Young, and Richard Riehle. Last, but certainly not least, is James Horner's remarkable score. Horner's effort here completes the film. Combining a militaristic refrain with angelic notes, the track fully supports the themes of the film, adding the finishing touches to the drama and meaning of the picture.