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Abraham Lincoln
on Screen
SECOND EDITION
Abraham Lincoln
on Screen
Fictional and Documentary
Portrayals on Film and Television
SECOND EDITION

MARK S. REINHART

McFarland & Company, Inc., Publishers

Jefferson, North Carolina, and London
 ALSO BY MARK S. REINHART

The Batman Filmography: Live-Action Features,

1943–1997 (McFarland, 2005)

Frontispiece: Abe Lincoln in Illinois (1940): Raymond Massey as the

president-elect, bidding farewell to Springfield in February 1861
(from the collection of the Museum of Modern Art).

LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA

Reinhart, Mark S., 1964–
Abraham Lincoln on screen : fictional and documentary portrayals on
film and television / Mark S. Reinhart — 2d ed.
p. cm.
Includes bibliographical references and index.

ISBN 978-0-7864-3536-4
illustrated case binding : 50# alkaline paper

1. Lincoln, Abraham, 1809–1865 — Film catalogs. 2. Lincoln,

Abraham, 1809–1865 — In motion pictures. 3. Lincoln,
Abraham, 1809–1865 — On television. I. Title.
E457.2.R333 2009 016.79143' 75 — dc22 2008040564

British Library cataloguing data are available

©2009 Mark S. Reinhart. All rights reserved

No part of this book may be reproduced or transmitted in any form

or by any means, electronic or mechanical, including photocopying
or recording, or by any information storage and retrieval system,
without permission in writing from the publisher.

On the cover: Abraham Lincoln, 1863 (Library of Congress); Robert V.

Barron (as Abraham Lincoln) in Bill and Ted's Excellent Adventure,
1989 (Orion Pictures Corporation/Photofest)

Manufactured in the United States of America

McFarland & Company, Inc., Publishers

Box 611, Jefferson, North Carolina 28640
www.mcfarlandpub.com
 For Jill, Taylor,
Keaton and Jenna
This page intentionally left blank
 ACKNOWLEDGMENTS
The kindness and generosity of three ogize for the fact that some of these names are
men in particular made this book possible. likely no longer connected to the institutions
The late Dan Bassuk, Lincoln impersonator I have linked them with. My thanks goes out
and founder of the Association of Lincoln Pre- to Rosemary Hanes, Madeline Matz and Joe
senters, provided me with invaluable source Balian (Library of Congress Motion Picture
material, as well as introductions to the other Reading Room), Carolyn Texley and Cindy
two men so important to this project. Clark Van Horn (Lincoln Museum) Laura Kaiser
Evans, reference specialist at the Library of (UCLA Film and Television Archive), Richie
Congress Rare Book and Special Collections Liu (Museum of Television and Radio, Los
Room, helped me to locate rare and unusual Angeles), Steve Ruth (U.S. National Park Ser-
Lincoln screen portrayals owned by the Li- vice), Mark Alvey and Holly Pinkerton (Mu-
brary. Clark’s interest in Lincoln-related cin- seum of Broadcast Communications), Don
ema and television, as well as his willingness to McCue (Lincoln Memorial Shrine), Mike
pass along any information he had gathered Capps (Lincoln Boyhood National Memor-
on the subject, has been a tremendous help to ial), Tim Townsend (Lincoln Home National
me over the years. The same, and quite a bit Historic Site) Kim Bauer (Decatur Lincoln
more, can be said for Richard Sloan, past pres- Heritage Development Project), and Daniel
ident of the Lincoln Group of New York. Not W. Stowell (The Papers of Abraham Lincoln).
only was Richard extremely generous in shar- Also, I would like to thank Lincoln his-
ing his tremendous knowledge of Lincoln-re- torian Paul Verduin for providing me with
lated screen works, he also granted me access much-needed information pertaining to Lin-
to his outstanding collection of photographs of coln’s ancestry, Scott A. Sandage of Carnegie
Lincoln screen impersonators. Many of the Mellon University for loaning me several rare
photos in this book are from Richard’s collec- Lincoln-related screen productions and for
tion, and in my opinion they illustrate the critiquing portions of my manuscript, Bob
strengths and weaknesses of the actors they Underhill at the Columbus City Schools Film
show as well or better than my prose does. Library for making the library’s extensive col-
I am indebted to a number of other peo- lection of educational films and videos avail-
ple at excellent research institutions through- able to me, Ray Faiola and Doug McKinney at
out the United States for helping me to locate CBS for providing me with valuable informa-
Lincoln-related films, television shows and rel- tion about early episodes of the CBS series You
evant material. Some of these individuals Are There, Kathy Levis at Turner Network
helped me while I was preparing the second Sales for making it possible for me to screen the
edition of the book just recently, but some hard-to-find 1939 short subject Lincoln in the
helped me while I was preparing the first edi- White House, film collector Arthur Stephan for
tion of the book in the late 1990s — so I apol- duplicating several rare silent short films for

vii
viii Acknowledgments

me, Steve Saudek for making images of the started teaching, she was discussing Lincoln
1952 television series Mr. Lincoln available to with a first-grade class. Several students inter-
me, Ross Bagby for making me aware of sev- rupted her lesson to tell her that they knew
eral little-known Lincoln television portray- who Lincoln was: He was the president who
als, and Daniel Humphrey for providing me said, “Party on, dudes!” Jill told them that Lin-
with information about Benjamin Chapin’s coln never said that particular phrase, but they
Lincoln Cycle films. emphatically told her that he did say it, they
My gratitude goes out to all of my col- had seen him say it. Jill and I were discussing
leagues at the Upper Arlington Public Library this puzzling exchange a short while after it
in Columbus, Ohio, for putting up with me had happened, and it dawned on us that the
over the years as I have obsessed over Lincoln children thought that Lincoln had spoken
and his many screen impersonators. I would those words because they had watched the
particularly like to thank Stephen Harvey, 1989 comedy-fantasy Bill and Ted’s Excellent
Steve D’Andrea, and Steve Owley for helping Adventure. In the film, Lincoln is transported
me to prepare and refine my manuscript. I to the present day to help two dim-witted high
would also like to express my appreciation to school students with an all-important presen-
Cris Brawner and Sherry Korbel, both of tation for their history class, and he delivers a
whom arranged vital interlibrary loans for me Gettysburg Address–like speech to their class-
with great care and speed. mates which closes with the words, “Party on,
And I would like to thank my family, all dudes”—one of Bill and Ted’s favorite phrases.
of the Reinharts, Stinsons, Montellas and As Jill and I laughed about this, I was
Gerkes, for the encouragement and support struck by the thought of those children learn-
they have given me during this project. I am ing about Lincoln from that film — of course,
especially indebted to my late grandfather what they had learned was 99 percent wrong,
William Wood Stinson, whose interest in Lin- but they had learned something about who
coln and the Civil War era sparked my own. Abraham Lincoln was nonetheless. If those
From the very first time I picked up his first ridiculous images of Lincoln were so powerful
edition copy of the 1941 book Lincoln: His Life to those children, then how many people over
in Photographs by Stefan Lorant when I was a the past century had formed opinions about
boy, I have been transfixed by Lincoln’s story. Lincoln based on images of him they had seen
Though I never had the chance as an adult to in a motion picture or television show? How
talk to my grandfather about Lincoln, I am good were the best of these productions? How
very proud to be able to honor Pa’s memory by bad were the worst of them? What actor made
making a small contribution to the field of the most realistic screen Lincoln? I probably
Lincoln research. would never have asked myself these questions
Finally, I want to express my thanks and and written this book to try to answer them if
love to my wife, Jill, my sons Taylor and not for Jill — I thank her for leading me down
Keaton, and my daughter Jenna. This book not only this particular path, but also the
would never have been written without them. many others that have made our life together
This statement is especially true in terms of so wonderful.
Jill. She is an educator, and when she first
TABLE OF CONTENTS
Acknowledgments vii
A Few Words About the Second Edition 1
Preface 3
Introduction 7

Films and Television Productions 23

Chronological Listing of Films

and Television Productions 225
Bibliography 229
Index 231

ix
This page intentionally left blank
 A FEW WORDS ABOUT
THE SECOND EDITION

When the first edition of Abraham Lin- coln, and George Billings was featured in Lin-
coln on Screen was published in late 1999, I was coln), so I should have run across them at some
thrilled not only to have made a small contri- point when I was researching the first edition.
bution to the field of Lincoln research, but also And to make matters worse, I made some
by the positive feedback the book received mistakes relating to several of the Lincoln pro-
from Lincolnphiles. Most every Lincoln re- ductions that I did include in the first edition.
searcher and admirer that I met after the book For example, I wrote about a scene in The
was published had very kind words for my ef- Birth of a Nation (1915) in which Lincoln gets
forts. In fact, I so enjoyed the twin experiences down on his knees and prays upon learning
of putting Abraham Lincoln on Screen together that Fort Sumter has been fired upon. My rec-
and receiving such a hearty response from the ollection of this scene was wildly inaccurate —
Lincoln community that I resolved to start the film does not show Lincoln learning about
work on a second edition almost immediately. Sumter at all, it shows him signing his 1861
I was also very anxious to return to the proclamation calling for 75,000 volunteer
book because frankly, I ended up feeling that troops. And he does pray in that scene, but he
I did not do as good a job on it as I should never goes so far as to actually get down on
have the first time around. In fact, several fac- his knees. How could I possibly have gotten
tors led me to being a bit embarrassed by por- this scene so mangled up in my mind? What
tions of the book’s first edition. Please indulge was I thinking?
me for a moment while I lay these factors out I’ll point out one final thing about the
for you. first edition that ended up making me uncom-
First, in the years since the first edition fortable. I was very critical of certain produc-
was published, I learned that I failed to in- tions and their creators in the book, and look-
clude a number of important Lincoln screen ing back, I think I was perhaps a little too
works. To put it bluntly, things got by me that harsh at times. When you are writing, you
never should have gotten by me. How could hear your words in the privacy of your own
I possibly have been unaware of the excellent mind, and this perceived privacy might lead
1975 Hallmark Hall of Fame production The you to write things that you would think twice
Rivalry about the Lincoln-Douglas Debates? about saying aloud to a room full of people. At
How could I possibly not have known about least this turned out to be the case for me — I
the early sound films Abraham Lincoln (1924) wrote several things in the first edition that,
and Lincoln (1929)? Both of these films starred once they became a matter of public record,
very well-known Lincoln impersonators (Frank seemed to me to be so critical that they bor-
McGlynn, Sr., was featured in Abraham Lin- dered on unkindness.

1
2 A Few Words About the Second Edition

This second edition gives me the chance But “addressed problems” are not by any
to address these problems. Works that I was means all that this second edition has to offer.
previously unaware of are now included, and In the past decade, more than 80 Lincoln re-
mistakes like my Birth of a Nation gaffe have lated films and television productions have
been corrected. I’ve softened several of my been created, and you will find information
criticisms from the first edition to a point on them in these pages. Plus, I’ve collected
where I am more comfortable with them. (I’m new photos and data relating to many of the
sure that this second edition will probably end productions that were in the first edition, and
up leaving me with some misgivings as well, this material can be found in the book as well.
but I guess I’ll worry about that in another
decade or so!)
 PREFACE
Abraham Lincoln is so deeply ingrained personality, to note a few of the better-known
in our national consciousness that his image variations. Since his death, there has been a
can be found practically everywhere. In a seemingly endless parade of historians and au-
sense, Lincoln is inescapable. He is the subject thors who have grabbed newspaper headlines
of countless books ranging from grade school by claiming that their Lincoln research has
coloring pages to massive biographical vol- yielded important new discoveries, and based
umes by renowned authors. Politicians, con- on these discoveries they have created the
servative and liberal alike, constantly quote “definitive” Lincoln biography. Each one
him while trying to influence voters. Collec- seems to stress that certain aspects of Lincoln’s
tors pay many thousands of dollars for docu- life are essential to understanding his charac-
ments signed by him and for items he owned. ter, yet in each case the “essential” aspects are
His likeness is often the subject of sculptures, entirely different. These many and varied por-
paintings, posters, dolls and other decorative trayals continue to vie with one another for
items. His face is displayed on the money that the honor of being the closest approximation
we use. There are statues of Lincoln on pub- to the “real” Lincoln.
lic display in many cities across the United Given the fact that Lincoln has meant so
States, and there are thousands of roads, parks, much to Americans in the years since his
buildings and businesses named after him. death, it is not at all surprising that he is the
Also, historic sites where Lincoln once most frequently portrayed American historical
stood are preserved. Tourists can visit his figure in the history of the film and television
home in Springfield, Illinois; the cemetery arts. Lincoln has been featured as a character
where he delivered his address in Gettysburg, in at least 300 productions since the birth of
Pennsylvania; or Ford’s Theatre in Washing- the motion picture medium in the 1890s. Per-
ton, D.C., where he was assassinated. There haps because the movies and television have
are museums at these and many other sites been so closely associated with popular cul-
which display artifacts relating to his life and ture, and certainly because filmmakers have
work. so often been unconcerned with historical
And our society’s fascination with Lin- facts relating to Lincoln’s life, historians have
coln does not end with simply honoring his been reluctant to embrace Lincoln screen por-
memory. He has been and continues to be the trayals as a legitimate biographical medium.
subject of considerable debate. Over the past One example of this attitude can be found in
140 years, Lincoln’s life has been examined the 1994 book Lincoln in American Memory by
from every conceivable angle. Biographers Merrill D. Peterson. Peterson chronicles how
have portrayed him as a godlike leader, or as Lincoln’s image has been perceived and inter-
a folksy man of the people, or as a terribly de- preted by the American people since the time
pressed man driven by the dark sides of his of Lincoln’s death. In the book’s 400-plus

3
4 Preface

pages, only a few scattered paragraphs are de- respect for historical events, it contains at least
voted to Lincoln-related film and television one glaring historical error, one that involves
productions. Out of the scores of Lincoln Abraham Lincoln.
screen portrayals, Peterson briefly discusses Leon F. Litwack’s thoughtful essay on
only about a dozen. D.W. Griffith’s 1915 film The Birth of a Nation
Another example of the historical com- and its overt racism is illustrated with a photo
munity’s tendency not to take the movies and identified as the film’s famous Lincoln assassi-
television seriously can be found in Past Imper-nation scene. In reality, the photo is not from
fect: History According to the Movies (1995). The
The Birth of a Nation but from Griffith’s 1930
book is a collection of short essays written by film Abraham Lincoln starring Walter Huston
prominent historians who examine individual in the title role. This error is instantly recog-
historical films or historical film genres, and nizable to anyone who has watched The Birth
compare the content of the films to the actual of a Nation’s excellent recreation of Lincoln’s
historical events that inspired them. As evi- assassination. Consequently, while Litwack’s
denced by the book’s title, most of the films assessment of The Birth of a Nation as a tech-
discussed in its pages are found to be histori- nically brilliant but malicious and historically
cally lacking. However, even as Past Imperfect misleading film is completely valid, it is cheap-
laments the motion picture industry’s lack of ened by such an obvious mistake in his essay’s
illustration. If historians want to
claim the intellectual high
ground over the movie and tele-
vision industry, they would be
wise to not make these kinds of
errors in their criticism of histor-
ical screen dramatizations — es-
pecially when they fault the
movie and television industry for
the errors it commits.
I feel that the subject of
Lincoln-related film and televi-
sion deserves closer attention
than it is afforded in works such
as Lincoln in American Memory
and Past Imperfect: History Ac-
cording to the Movies. I suppose
there are historians who would
dispute this claim, contending
that Lincoln screen portrayals are
historically worthless because
their creators so often chose to
change or ignore important his-
torical facts for the sake of dra-
matic effect. I would counter by
saying that although this has
often been the case, there are
Abraham Lincoln, February 5, 1865 (photograph by Alexander many notable exceptions. I would
Gardner). argue that works such as the
 Preface 5

1952 five-part television production Mr. Lin- fraudulent evidence to support the claim that
coln, or Ken Burns’ 1989 documentary series the U.S. government was partially responsible
The Civil War, or the previously mentioned for Lincoln’s murder. The film says much
assassination scene from The Birth of a Nation, more about America’s distrust of its elected
or Hal Holbrook’s Lincoln portrayal in the leaders, and the entertainment industry’s will-
1974–76 series Sandburg’s Lincoln, are excellent ingness to cash in on that distrust at the ex-
examples of how effective the moving image pense of historical fact, than it does about who
can be as a Lincoln biographical tool. Also, as really killed Abraham Lincoln. The only real
our society becomes ever more oriented to- lesson to be learned from such a production
wards the electronic media, people are more is that poor Lincoln screen portrayals have the
likely to learn about Lincoln from television power to reinforce old myths and untruths —
documentaries like Lincoln (1992) or Abraham and, worse yet, knowingly create new ones.
and Mary Lincoln: A House Divided (2001) Often many film critics compound this
than they are from a traditional print biogra- problem by not making any distinction be-
phy. tween historically accurate and historically
And even when Lincoln-related produc- misleading works. While many historians have
tions are poor historical material, they can still been slow to accept Lincoln film portrayals as
serve some limited purpose. They often reveal a legitimate biographical medium because of
how Lincoln might have been perceived when their potential to mislead, the exact opposite
the production was made, given the fact that has been true of many film critics: They have
mainstream movies and television programs been far too eager to embrace fictionalized ac-
generally reflect the attitudes and values of a counts of Lincoln’s life as historic fact. I have
sizable segment of the population. One only studied a number of discussions of D.W.
need compare the reverence with which Lin- Griffith’s 1930 motion picture Abraham Lincoln
coln was treated in films of the 1920s and (from the 1930s to the present) that praise the
1930s to the 1989 comedy-fantasy film Bill and film’s historic accuracy — questionable praise
Ted’s Excellent Adventure, in which Lincoln is indeed for a work that either oversimplifies or
shown shouting “Party on, dudes!” to a group eliminates all of the details of Lincoln’s presi-
of cheering high school students to realize that dential years.
present-day America doesn’t take Lincoln as Many other films that feature mislead-
seriously as did previous generations. Obvi- ing fictional scenes regarding Lincoln’s life
ously, this preposterous kind of Lincoln por- often are not questioned by critics, who choose
trayal only tells us something about ourselves, to comment on how the material is presented
not Lincoln — but it does demonstrate how instead of the material itself. Indeed, the most
the entertainment industry manipulates Lin- famous Lincoln-related films of all time,
coln’s image to fit the American psyche during 1939’s Young Mr. Lincoln and 1940’s Abe Lin-
different periods. coln in Illinois, have enjoyed mainstream crit-
In fairness it must be stated that certain ical acclaim without any substantial measure
Lincoln-related productions have given his- of historical scrutiny for well over half a cen-
torians a right to be wary of the entire genre. tury. (It should be pointed out that the previ-
These works have presented inexcusably bad ously mentioned Past Imperfect: History Ac-
historiography disguised as fact; no amount cording to the Movies does include an essay by
of cultural insight gained from them could Lincoln historian Mark E. Neely, Jr., about
ever be worth the cost of how badly they mis- these two films and their respective historical
lead the viewer. This is the case with the 1977 inaccuracies, but the essay was so brief it could
film The Lincoln Conspiracy. Released several not go into great detail.)
years after the Watergate scandal, it presented This book is an attempt to find a middle
6 Preface

ground between the viewpoint of many his- admit to the reader that this book will con-
torians and the viewpoint of many film crit- tain a number of omissions and inaccuracies.
ics — to separate fact from fiction in Lincoln But having admitted this, let me also point
screen portrayals while also considering their out that I hope this book will serve to spark
respective artistic merits. I will not dwell on all greater dialogue between Lincolnphiles and
of the major biographical details of Lincoln’s cinephiles, which will lead to more informa-
life. Rather, I will discuss Lincoln and events tion about Lincoln-related films and televi-
involving him as they relate to the plot of each sion shows coming to light.
production. And I will not discuss at length Commercials and programs such as The
the biographical details of every actor who Tonight Show and The Simpsons whose Lincoln
portrayed Lincoln, or the complete produc- content is limited to jokes are not included in
tion history of each film or television show. the main text of this book. The exclusion of
Such information would detract from the this material is not meant to imply that it is
focus on Lincoln and how he is portrayed. unworthy of consideration. There is simply so
However, the reader should be assured much of it that it would likely require a sepa-
that every effort has been made to provide es- rate book roughly the size of this volume to
sential information for all films and television cover it comprehensively.
shows that feature Lincoln as a character or That said, we will now examine the Lin-
subject. But this assurance must also come coln image on screen — the works which illu-
with a warning: The entertainment business is minate the life of Abraham Lincoln, the works
a fickle one, and many Lincoln-related films which do him a great disservice, and the works
and television shows faded into obscurity after which fall somewhere in between. As you read,
their initial release. Consequently, only the take time to study some of the faces of these
barest production and release records exist for men who have endeavored to portray perhaps
a number of these works, especially films from the greatest of all American historical figures.
the early silent era. And in some cases, these Despite their similarity to one another, you
scant records are all that we have left, because will likely be surprised at how remarkably var-
all known copies of the production in ques- ied their interpretations of that one man re-
tion have been lost or destroyed. So I feel that ally were.
it would be unfair of me not to reluctantly
 INTRODUCTION
Several factors likely led to the film and great films such as Gone with the Wind (1939).
television industry’s ongoing fascination with Though somewhat diminished, the public’s
Lincoln. First, still photography was invented appetite for Civil War stories was still rela-
and popularized during Lincoln’s lifetime, and tively strong when television entered people’s
Lincoln took full advantage of this new tech- homes in the early 1950s — consequently,
nology. He likely realized that photographs many television programs had plots that dealt
could be an effective political tool — if voters with the Civil War period. Because of Lin-
could recognize his face, this might help him coln’s importance to the time, a great number
in elections. There is also reason to believe that of film and television productions about the
Lincoln simply enjoyed having his picture Civil War featured Lincoln, even if only as an
taken, even though he constantly joked about incidental role.
his homely appearance — he visited photo- But perhaps the most important factor
graphic studios somewhat regularly, and would was simply that Lincoln had become a legend
often inscribe pictures of himself to give them in the minds of many Americans. They viewed
to friends. In any event, he was the first widely his life story as a personification of the Amer-
photographed president, and as a result, his ican spirit, embodying the virtues of intelli-
distinctive face became known to millions. So gence, compassion, resolve and love of coun-
he was a natural subject for “moving pictures,” try. Lincoln’s life captured the imagination of
after having been such a memorable subject millions of people, and filmmakers were quick
for “still pictures.” Also, the same could be to realize that films about him would appeal to
said for the Civil War itself. It was the first war a vast audience.
to be documented so completely in photo- While a substantial number of films and
graphs, and filmmakers could use those pho- television productions feature Lincoln as their
tographs to stage their films with some degree main subject matter, the majority of works
of historical accuracy. with Lincoln portrayals are historical dramas,
Another factor was the importance that and his appearance only serves to enhance the
many Americans attached to the Civil War ex- flavor of the period. Often there are several
perience in defining the modern United States. scenes which show Lincoln in these films, de-
Because the Civil War was such a crucial and picting him in fictional interaction with
dramatic period in American history, coupled fictional characters, or during dramatic and
with the fact that it had taken place only sev- pivotal moments during his presidency. Obvi-
eral decades before, it was perfect subject mat- ously, at times it can be difficult to distinguish
ter for the new entertainment industry. As the fact from fiction in these historical dramas.
years passed and the industry grew, the tragedy This is the biggest problem with the marriage
and heroism of the period continued to fasci- of historical events and film and television
nate people, their fascination in part fueled by productions—as previously mentioned, many

7
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