Movie Review - 'The Conspirator' - A Trying Trial For Lincoln's Foes Robert Redford's historical drama focuses on the months after President Lincoln was assassinated — and on Mary Surratt, the woman alleged to have aided the plotters. Critic David Edelstein says it's a dramatized civil-liberties lecture, both transparent and exaggerated.
NPR logo

'The Conspirator': A Trying Trial For Lincoln's Foes

  • Download
  • <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">
  • Transcript
'The Conspirator': A Trying Trial For Lincoln's Foes



'The Conspirator': A Trying Trial For Lincoln's Foes

  • Download
  • <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">
  • Transcript


Many of us know little about the aftermath of the Lincoln assassination beyond the killing of John Wilkes Booth in a barn. Robert Redford's new film, "The Conspirator," focuses on the months of post-assassination arrests and trials, particularly on Mary Surratt, the woman alleged to have aided the plotters.

Film critic David Edelstein has this review.

DAVID EDELSTEIN: "The Conspirator" centers on the real-life trial of Mary Surratt. She ran a Washington boarding house that was regularly visited by men involved in the assassination of Abraham Lincoln. Among them: Surratt's son, and the assassin himself, John Wilkes Booth.

The government charges Mary, played by Robin Wright, with being a participant in the plot, which is a crime punishable by death. But there will at this time of heightened emotions, with so many people rounded up, being no jury of her peers. A military tribunal will hear her case, and normal rules of evidence won't apply. It falls to Surratt's lawyer, Frederick Aiken, played by James McAvoy, to argue not merely for his client, but also a principle: that the U.S. Constitution must apply to everyone, guilty or innocent, in times of peace or peril.

It would be easy to call "The Conspirator" a dramatized civil-liberties lecture. Director Robert Redford is not a man who keeps his political convictions to himself, and his agenda could hardly be plainer.

Because Redford makes the defendants' legal case, it's important to say he does nothing to make them admirable. They're fools and monsters. "The Conspirator" opens with Lincoln's assassination and the mayhem that follows. On his makeshift deathbed across from Ford's Theater, the president is barely glimpsed - only his shoes and the bowls of blood carried from the room. We want vengeance for this crime as much as the mobs onscreen.

Wright's Mary isn't likable, either, at least at first. She admits to being a Confederate sympathizer, but is otherwise so starkly private, so withholding, that we can't blame Aiken for hating her. He fought for the Union and didn't want her case, which has made him a social pariah. He wants to know about the son she's protecting, who's still on the lam.

(Soundbite of movie, "The Conspirator")

Ms. ROBIN WRIGHT (Actor): (as Mary Surratt) My son was in Canada that day.

Mr. JAMES MCAVOY (Actor): (as Frederick Aiken) Can you prove that?

Ms. WRIGHT: (as Mary Surratt) I received a letter on April 14th, same day as the assassination, sent from Montreal.

Mr. MCAVOY: (as Frederick Aiken) Where is this letter?

Ms. WRIGHT: (as Mary Surratt) I don't know.

Mr. MCAVOY: (as Frederick Aiken) I'm done, done defending your lies.

Ms. WRIGHT: (as Mary Surratt) You're so blind with hatred, Mr. Aiken, you can't even see the truth. Yes, my son hated the North. We all did. How can a Southerner feel anything but bitterness towards your side? But my son did not conspire to kill your president. He conspired to kidnap him.

EDELSTEIN: What did Mary know, and when did she know it? It's hard to say. Wright makes her vividly uncommunicative, torn in too many directions to make anything but her essential decency plain.

Evan Rachel Wood plays her daughter, Anna, who hasn't been allowed to see or speak to Mary, and you believe they're related: They have the same mixture of fear and anger, the same tightness. Because both actresses give such tough, unsentimental performances, the moment when Anna testifies in court and soldiers line up to block Mary from her from view is so cruel it's devastating.

Where Redford and screenwriter James Solomon fail is in making a compelling case for the other side, the one that says the survival of the nation takes precedence over individual rights. The spokesman for that view, who's transparently eager to orchestrate Mary's hanging, is the Secretary of War Edwin Stanton, played by Kevin Kline.

Mr. MCAVOY: (as Frederick Aiken) It's not justice you're after. It's revenge.

Mr. KEVIN KLINE (Actor): (Edwin Stanton) I would never go to such lengths out of vengeance. But to ensure the survival of this nation, I would do anything. Mary Surratt was a party to the most grievous crime in our history. Necessity demands that she be given a swift, sure and harsh sentence. I, too, hold sacred our rights, counselor, but they count not at all if our nation ceases to exist.

McAvoy carries that scene. He gives real dramatic urgency to what might have played like lecture notes. But Kline is as bad as his material, as only a liberal playing a reactionary can be.

This conflict between civil liberties and national security is endlessly current, and in 1865, with the nation barely recovered from being torn asunder, the national-security side deserves a spokesman of stature. It doesn't get it.

"The Conspirator" is a graceful film with a heartbreaking climax, but instead of a great and timeless drama, it's just a powerful melodrama.

GROSS: David Edelstein is film critic for New York magazine. He reviewed "The Conspirator."

Copyright © 2011 NPR. All rights reserved. Visit our website terms of use and permissions pages at for further information.

NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.