|Directed by||Steven Spielberg|
|Written by||David Franzoni|
|Music by||John Williams|
|Edited by||Michael Kahn|
|Distributed by||DreamWorks Pictures|
|Box office||$44.2 million|
Amistad is a 1997 American historical drama film directed by Steven Spielberg, based on the true story of the events in 1839 aboard the slave ship La Amistad, during which Mende tribesmen abducted for the slave trade managed to gain control of their captors' ship off the coast of Cuba, and the international legal battle that followed their capture by the Washington, a U.S. revenue cutter. The case was ultimately resolved by the U.S. Supreme Court in 1841.
Morgan Freeman, Anthony Hopkins, Djimon Hounsou, and Matthew McConaughey had starring roles. David Franzoni's screenplay was based on the 1987 book Mutiny on the Amistad: The Saga of a Slave Revolt and Its Impact on American Abolition, Law, and Diplomacy, by the historian Howard Jones.
La Amistad is a slave ship transporting captured Africans from Spanish Cuba to the United States in 1839. Joseph Cinqué, a leader of the Africans, leads a mutiny and takes over the ship. The mutineers spare the lives of two Spanish navigators to help them sail the ship back to Africa. Instead, the navigators misdirect the Africans and sail directly north to the east coast of the United States, where the ship is stopped by the American Navy, and the surviving Africans imprisoned as runaway slaves.
In an unfamiliar country and not speaking a single word of English, the Africans find themselves in a legal battle. United States Attorney William S. Holabird brings charges of piracy and murder. Secretary of State John Forsyth, on behalf of President Martin Van Buren (who is campaigning for re-election), represents the claim of the Spanish government[a] that the African captives are property of Spain based on a treaty. Two Naval officers, Thomas R. Gedney, and Richard W. Meade, claim them as salvage while the two Spanish navigators, Pedro Montez and Jose Ruiz, produce proof of purchase. A lawyer named Roger Sherman Baldwin, hired by the abolitionist Lewis Tappan and his black associate Theodore Joadson, decides to defend the Africans.
Baldwin argues that the Africans had been kidnapped from the British colony of Sierra Leone to be sold in the Americas illegally. Baldwin proves through documents found hidden aboard La Amistad that the African captives were initially cargo belonging to a Portuguese slave ship, the Tecora. Therefore, the Africans were free citizens of Sierra Leone and not slaves at all. In light of this evidence, the staff of President Van Buren has the judge presiding over the case replaced by Judge Coglin, who is younger and believed to be impressionable and easily influenced. Consequently, seeking to make the case more personal, on the advice of former American president (and lawyer) John Quincy Adams, Baldwin and Joadson find James Covey, a former slave who speaks both Mende and English. Cinque tells his story at trial: Cinque was kidnapped by slave traders outside his village, and held in the slave fortress of Lomboko, where thousands of captives were held under heavy guard. Cinque and many others were then sold to the Tecora, where they were held in the brig of the ship. The captives were beaten and whipped, and at times, were given so little food that they had to eat the food from each other's faces. One day, fifty captives were thrown overboard. Later on, the ship arrived in Havana, Cuba. Those captives that were not sold at auction were handed over to La Amistad.
United States Attorney Holabird attacks Cinqué's "tale" of being captured and kept in the slave fortress, and especially questions the throwing of precious cargo overboard. Holabird contends that Cinque could have been made a debt slave by his fellow Sierra Leoneans. However, the Royal Navy's fervent abolitionist Captain Fitzgerald of the West Africa Squadron backs up Cinqué's account. Baldwin shows from the Tecora's inventory that the number of African people taken as slaves was reduced by fifty. Fitzgerald explains that some slave ships when interdicted do this to get rid of the evidence for their crime but in the Tecora's case, they had underestimated the amount of provisions necessary for their journey. As the tension rises, Cinqué stands up from his seat and repeatedly says, "Give us, us free!"
Judge Coglin rules in favor of the Africans. After pressure from Senator John C. Calhoun of South Carolina on President Van Buren, the case is appealed to the Supreme Court. Despite refusing to help when the case was initially presented, Adams agrees to assist with the case. At the Supreme Court, he makes an impassioned and eloquent plea for their release, and is successful.
The Lomboko slave fortress is liberated by the Royal Marines under the command of Captain Fitzgerald. After all the slaves are removed from the fortress, Fitzgerald orders the ship's cannon to destroy it. He then dictates a letter to Forsyth saying that he was correct -- the slave fortress did not exist.
Because of the release of the Africans, Van Buren loses his re-election campaign, and tension builds between the North and the South, which eventually culminates in the Civil War.
|Amistad: Original Motion Picture Soundtrack|
|Film score by|
|Released||December 9, 1997|
|Studio||Sony Pictures Studios|
|John Williams chronology|
The musical score for Amistad was composed by John Williams. A soundtrack album was released on December 9, 1997 by DreamWorks Records. The lyrics from "Dry Your Tears, Afrika" are from a 1967 poem by French-speaking Ivorian poet Bernard Binlin Dadié. The words are primarily in Mende, one of Sierra Leone's major languages.
|1.||"Dry Your Tears, Afrika" (vocals performed by Pamela Dillard)||4:18|
|2.||"Sierra Leone, 1839 and the Capture of Cinque" (vocals performed by Pamela Dillard)||3:39|
|3.||"Crossing the Atlantic" (vocals performed by Pamela Dillard)||3:21|
|5.||"Cinque's Memories of Home"||2:35|
|7.||"The Long Road to Justice"||3:16|
|8.||"July 4, 1839"||4:01|
|9.||"Mr. Adams Takes the Case"||7:15|
|10.||"La Amistad Remembered"||5:08|
|11.||"The Liberation of Lomboko"||4:09|
|13.||"Going Home" (vocals performed by Pamela Dillard)||2:02|
|14.||"Dry Your Tears, Afrika (Reprise)"||3:37|
Many academics, including Columbia University professor Eric Foner, have criticized Amistad for historical inaccuracy and the misleading characterizations of the Amistad case as a "turning point" in the American perspective on slavery.  Foner wrote:
In fact, the Amistad case revolved around the Atlantic slave trade -- by 1840 outlawed by international treaty -- and had nothing whatsoever to do with slavery as a domestic institution. Incongruous as it may seem, it was perfectly possible in the nineteenth century to condemn the importation of slaves from Africa while simultaneously defending slavery and the flourishing slave trade within the United States.
Amistad's problems go far deeper than such anachronisms as President Martin Van Buren campaigning for re-election on a whistle-stop train tour (in 1840, candidates did not campaign), or people constantly talking about the impending Civil War, which lay 20 years in the future.
Other reported inaccuracies include:
Amistad received mainly positive reviews. On Rotten Tomatoes, the film received an approval rating of 77% based on reviews from 64 critics, with an average score of 6.9/10. Its consensus reads: "Heartfelt without resorting to preachiness, Amistad tells an important story with engaging sensitivity and absorbing skill."
Susan Wloszczyna of USA Today summed up the feelings of many reviewers when she wrote: "as Spielberg vehicles go, Amistad -- part mystery, action thriller, courtroom drama, even culture-clash comedy -- lands between the disturbing lyricism of Schindler's List and the storybook artificiality of The Color Purple."Roger Ebert awarded the film three out of four stars, writing:
"Amistad," like Spielberg's "Schindler's List," is [...] about the ways good men try to work realistically within an evil system to spare a few of its victims. [...] "Schindler's List" works better as narrative because it is about a risky deception, while "Amistad" is about the search for a truth that, if found, will be small consolation to the millions of existing slaves. As a result, the movie doesn't have the emotional charge of Spielberg's earlier film -- or of "The Color Purple," which moved me to tears. [...] What is most valuable about "Amistad" is the way it provides faces and names for its African characters, whom the movies so often make into faceless victims.
Morgan Freeman is very proud of the movie: "I loved the film. I really did. I had a moment of err, during the killings. I thought that was a little over-wrought. But he (Spielberg) wanted to make a point and I understood that."
Amistad was nominated for Academy Awards in four categories: Best Supporting Actor (Anthony Hopkins), Best Original Dramatic Score (John Williams), Best Cinematography (Janusz Kami?ski), and Best Costume Design (Ruth E. Carter).
|Academy Award||Best Cinematography||Janusz Kami?ski||Nominated|
|Best Costume Design||Ruth E. Carter||Nominated|
|Best Original Dramatic Score||John Williams||Nominated|
|Best Supporting Actor||Anthony Hopkins||Nominated|
|American Society of Cinematographers||Outstanding Achievement in Cinematography in Theatrical Releases||Janusz Kami?ski||Nominated|
|Art Directors Guild||Excellence in Production Design for a Feature Film||Rick Carter (production designer),
Tony Fanning, Christopher Burian-Mohr, William James Teegarden (art directors)
Lauren Polizzi, John Berger, Paul Sonski (assistant art directors)
Nicholas Lundy, Hugh Landwehr (new york art directors)
|Chicago Film Critics Association||Best Supporting Actor||Anthony Hopkins||Nominated|
|Most Promising Actor||Djimon Hounsou||Nominated|
|Critics' Choice Movie Award||Best Film||Nominated|
|Best Supporting Actor||Anthony Hopkins||Won|
|David di Donatello||Best Foreign Film||Steven Spielberg||Nominated|
|Directors Guild of America Award||Outstanding Directing - Feature Film||Nominated|
|European Film Awards||Achievement in World Cinema
(also for Good Will Hunting)
|Golden Globe Award||Best Actor - Motion Picture Drama||Djimon Hounsou||Nominated|
|Best Director||Steven Spielberg||Nominated|
|Best Motion Picture - Drama||Nominated|
|Best Supporting Actor - Motion Picture||Anthony Hopkins||Nominated|
|Grammy Award||Best Instrumental Composition Written for a Motion Picture or for Television||John Williams||Nominated|
|NAACP Image Award||Outstanding Actor in a Motion Picture||Djimon Hounsou||Won|
|Outstanding Motion Picture||Nominated|
|Outstanding Supporting Actor in a Motion Picture||Morgan Freeman||Won|
|Online Film Critics Society||Best Supporting Actor||Anthony Hopkins||Nominated|
|Producers Guild of America Award||Best Theatrical Motion Picture||Steven Spielberg, Debbie Allen, Colin Wilson||Nominated|
|Political Film Society Awards||Exposé||Nominated|
|Satellite Award||Best Actor - Motion Picture Drama||Djimon Hounsou||Nominated|
|Best Adapted Screenplay||David Franzoni||Nominated|
|Best Art Direction and Production Design||Rick Carter||Nominated|
|Best Cinematography||Janusz Kami?ski||Won|
|Best Costume Design||Ruth E. Carter||Nominated|
|Best Director||Steven Spielberg||Nominated|
|Best Editing||Michael Kahn||Nominated|
|Best Film - Drama||Steven Spielberg, Debbie Allen, Colin Wilson||Nominated|
|Best Original Score||John Williams||Nominated|
|Screen Actors Guild Award||Outstanding Performance by a Male Actor in a Supporting Role||Anthony Hopkins||Nominated|
|Southeastern Film Critics Association||Best Supporting Actor||2nd place|