...since the term 'exploitation film' covers a pretty wide berth, as far as pinning down an all-encompassing, overall meaning of the term, and as such, might well be definitionally construed as something different, from group to group...even from person to person...it might as well be safe to say that the spansive moniker includes any interest-instilling speculative cinematic study...no matter how well researched...depicted in a dramatically sensationalist and emotionally manipulative meld. Such is the case, even with regards to the depiction of historical events...especially in particular, the assassination of public figures. In that respect, Abraham Lincoln's ill-fated death in 1865 has proven to be one of the most tragically and compellingly documented of such events in the annuls of American history; much speculation has been wrought from the events that transpired, during that time, due to unverifiable 'holes' in the backstory, as well as noted eyewitness inconsistencies. Surprisingly enough, there has been scant attempts to cinematically lay out the well-documented archival evidence of this case, in a sensical and practical manner; however, those attempts that HAVE been ambitiously produced, for the most part, have proven exploitatively intriguing and powerful enough to warrant viewer attention, in the overall search for, and ultimate presentation of at least a reasonable and logical, albeit understandably speculative truth. Despite this surprising, yet notable cinematic minimization, considering the historical impact of the event, coupled with an exploitative approach to the material, one might genuinely and cleverly see fit to coin the term, 'Lincoln-sploitation', as cliche as such a term might be considered; in viewing this recent docu-dramatization of the tragic events...this rustically slick, and keenly performed 2013 study, based upon the best selling non-fiction book, narrated by actor Tom Hanks, produced by Ridley & Tony Scott (...the latter of whom passed away, during production) for the National Geographic, and deemed a right-to-the-point, no-nonsense docu-drama, called "Killing Lincoln"...it is very dramatically presented that nothing could be closer to the truth...especially the suggestively relevating 'truth', outlaid herein...
...unveiled in not so much 'real time', but a more compellingly step-by-step, almost CSI-ish rhythmic beat, as events unfold, transpire and affect...with brief, interpretive breaks of narration, filling in the blanks, where the dramatic reenactments might be vague...the covertly diabolical, and as such, fatefully tragic window of events take place herein, mere weeks before Lincoln was determinately felled by an assassin's bullet. The story, most of which is familiar to most: John Wilkes Booth, a seasoned and critically respected actor...obsessively devoted to the South, and as such, very much taken aback by the Civil War balance toward the crippling efforts by the North...conspires to cripple the United States Government, with a covert and ambitious plan, involving the simultaneous kidnapping of not only Lincoln, but also then-Vice President Andrew Johnson and Secretary-of-State William S. Steward, with the assistance of supportive cohorts. Speculative reasons as to why remain vague, to this day, but at some point, the proposed kidnapping abruptly shifts to a much more murderous intent, with Booth himself invariably assuming the role of Lincoln's unswervingly determined assassin (...and with the accompanying attempts on Johnson and Steward's lives, having failed...with Johnson surviving the proposed fatal blow from one assassin. And the other would-be killer?? Well, he apparently lost his nerve, and backed out of his mission to kill Steward). Upon Lincoln's final breath in a boarding house across from the Ford Theater where he was shot...despite having exhausted all means of saving him...the powers that be, as far as law enforcement and governmental reinforcements begin to gather all witnesses to the tragic event...taking detailed statements, nearly of which all prove to be surprisingly different...sometimes contradictory of each other, as far as the observed events...and then, taking to the chase of the suspected, albeit unconfirmed Booth...a historically-monumental manhunt, which would take several days, during which hints and clues to Booth's whereabouts, would be invariably...sometimes indirectly outlaid by the desperate killer, and in the end, assure his capture...
...some might suggest that the preponderance of high-drama rendered herein, in depicting these events, distracts from the overall intent of the production: to shed new light, informative insight and relevant underlining details upon the subject matter...information which even seasoned historical buffs might not be privy to. After all, some of the performances in this compelling dramatization might seem somewhat over-the-top, in their rendering. Actor Jesse Johnson's dynamic portrayal of our 'villain' in this docu-drama, John Wilkes Booth, seems overly grandiose and bigger-than-life...almost stealing the show, so to speak...standing out (...in more ways than one, in fact; the film seems to slightly and underliningly...not so much revel, but more 'favor' Booth, because of his critically-acclaimed acting chops) over and above actor Billy Campbell's strikingly realistic and genuine performance, as the ill-fated 16th president. Even the narrative interludes by award-winning actor Tom Hanks seem to exude an exploitative flair for the dramatic, not only with the supplementally informative insights provided herein, but also, a cliched and...well, let's face it...a slightly and unintentionally humorous 'countdown' to the 'event' (..."...Lincoln has 16 days to live...Lincoln has 4 days to live...Lincoln has 8 hours to live...", and then abruptly, "...Booth has 14 days to live...etc..."), an element which only serves to amplify the exploitative aspects of the presentation. However, in this viewer's opinion, these self-same, exploitative high-dramatics and attention-grabbing revelations are, on the contrary, what compellingly draws the hapless viewer into these proceedings, during which time, the unbeknownst detailed bits of 'oh, wow' historical insight, are perceptively picked up along the way. It's an amiable and entertaining tandem volley of information, visuals and speculation, which actually works quite well, in the end, and makes this particular production study, stand out well above others...
...in the final analysis, one should NOT let this slick-looking, high-profile and well-researched production fool one into thinking that this is just another ordinary, hum-drum look at this material; given an alternate change in facet...a different set of eyes, so to speak, "Killing Lincoln" is oh-so deliciously compelling exploitation, at it's most dramatically manipulative and luridly finest...and yet, as unconventionally respectful as...well, as the title of this reviewed piece, itself; once again, we're talking 'Lincoln-spoitation' here, in every possible definition of the word, and with the utmost respect and regards to the historically grim and tragic subject matter examined. And you know su'um?? In the midst of all this compelling drama...well heck, one may well find one's self learnin' something new, as well...savvy??.....
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