In a message dated 8/2/05 1:04:44 PM, [log in to unmask] writes:


> So let's not bash the artists, lets synchronize with them.  There are
> things they do better than we do and there are things we do better than
> they.  Let's try to emulate them and also invite them into our circle,
> offering advice and support.
> 
> Harold S. Forsythe
> Golieb Fellow (2004-2005)
> New York University, School of Law
> 

Dear Harold:

I agree with you regarding the need to work with Hollywood.   Next, 
historical accuracy in Hollywood   is an oxymoron!!    Hollywood has tested my 
historical patience in countless ways!   The Smithsonian, realizing that most people 
get their history thru film set up an office to help improve historical 
accuracy in film.   Their attitude was one of "lets try and influence the filmmakers 
in a positive way" rather than lambasting them.   The first feature film they 
worked on was "The Patriot" with Mel Gibson.   They made small and large 
historical contributions with regards to accuracy in the film.   Of course, they 
were not totally successful, witness the red uniforms of Tavington (Tarleton's 
Legion--who wore green) as I guess they thought most viewers couldn't figure 
out who they were.   Also my Rev war friends were sputtering mad about some of 
the inaccuracies especially one of my friend who does a British officer 
impression!   I thought it was fairly good as historical entertainment except for the 
uniform and Mel Gibson's character having black farm hands who were free.   
That was a bit of a  stretch!!!!   But my area of expertise is CW living 
history not Rev war so I defer to my Rev war friends for judging the movie.    It 
would have been worse if Rex Ellis and company hadn't been there to steer them 
toward accuracy.  For example, the maroon Gullah village was the Smithsonian's 
idea which Roland Emmerich the director really loved.   In this case history 
and filmmaking merged to creat a unique historical image/topic not covered 
before in popular media.   I agree about the statement concerning John Ford.   As 
a kid, that was my first introduction to western cavalry history and Monument 
Valley!   Someone once pointed out to Ford that the cavalry really didn't wear 
yellow neckerchiefs, he replied "well they do in my movies"!     To him the 
visual spectacle and   story took precedence over history.   I loved his films 
as a kid and wasn't knowledgeable enough to spot the inaccuracies such as 
Indian war uniforms and 1904 McClellan saddlesi n the Horse Soldiers a CW movie.   
 It still didn't take away from the story and his excellent stable of 
character actors.   He got right how soldiers talk and act among each other on   
campaign and that is what carries the movie and makes it a success.    It is hard 
though when you know infinite detail to watch a historical movie and and 
grimace silently in agony when you see something egregiously wrong.   For example 
in Cold Mountain, the Natalie Portman character who is a poor widow in the NC 
hills has a potbellied stove in the corner.     NOTTT!!!!   Folks like here 
probably didn't get stoves until the latter part of the century or early 20th 
century!!   Since one of my impressions is that of a free black woman or house 
slave who is a cook, I have studied the use of stoves and about a half million 
were in use by the CW, but mostly among wealthy. upper middle class folks and 
institutions not poor Appalachian whites!!   I have done extra work in 
documentary and indies on the CW where there was an emphasis on accuracy.   In 
Hollywood the emphasis is on the story and the art of telling it so I don't expect 
accuracy with them and am pleasantly surprised when they do put some emphasis on 
accuracy.    One good thing I have noticed is that the historical accuracy of 
films has improved over the last 40 years that I have been a movie buff so 
there is hope!

Anita L. Henderson
Atlantic Guard Soldiers Aid Society
Researching Maria Lewis, black female trooper of the 8th NY Cavalry

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