Unpacking the Plantation Myth: The Documentary "Natchez"

The documentary "Natchez," directed by Suzannah Herbert, critically examines the plantation tourism industry in Natchez, Mississippi, revealing how it perpetuates a sanitized historical narrative that often overlooks the violence of slavery. Through a juxtaposition of curated nostalgia and lived experiences, the film exposes the contradictions inherent in the town's economic reliance on its antebellum past.

The Guardian

The film situates itself within a broader historical context, highlighting how American cinema has shaped perceptions of the plantation myth. Early films like Edwin S. Porter's "Uncle Tom’s Cabin" (1903) and D.W. Griffith’s "The Birth of a Nation" (1915) established a narrative framework that romanticized the Old South while obscuring its brutal realities. "Gone With the Wind" (1939) further entrenched this myth, transforming the plantation into a spectacle that elevated the "big house" while relegating the horrors of slavery to the background.

The Guardian

Herbert's documentary captures the essence of tourism in Natchez as a performance, where white homeowners, dressed in period costumes, narrate a version of history that emphasizes elegance and lineage, often omitting the realities of slavery. The Pilgrimage Garden Club exemplifies this, offering tours that sustain the town's economy while perpetuating a nostalgic fantasy. Visitors are invited to engage with a version of history that is palatable and romanticized, allowing them to escape the present without confronting its historical implications.

The Guardian

The film contrasts the dominant narrative with voices from the Black community, particularly through figures like Tracy “Rev” Collins, who leads counter-tours that emphasize historical specificity. Rev Collins's storytelling highlights the complexities of Natchez's past, including its rise under slavery and the subsequent violence of Jim Crow. This perspective challenges the sanitized narratives offered by traditional tours and insists on the importance of acknowledging history's weight.

The Guardian

Herbert does not shy away from exposing the uncomfortable truths surrounding heritage tourism. The film features David Garner, a white plantation owner whose overt racism serves as a stark reminder of the town's contradictions. His casual use of racist slurs during tours illustrates how heritage tourism can commodify and trivialize historical violence, turning it into a form of entertainment. This complicity among tourists and residents alike underscores the need for a more honest reckoning with the past.

The Guardian

Ultimately, "Natchez" argues for the necessity of confronting historical truths rather than succumbing to comforting myths. The film suggests that while the grand homes may decay, the real monuments are the living witnesses who carry the weight of history. Through their stories and activism, these individuals challenge the prevailing narratives and advocate for a more nuanced understanding of the past.

The Guardian

• “Natchez swallowed a master narrative about the old south.” — Barney Schoby, National Park Service Ranger

The Guardian

• “History, in his telling, is not set-dressing but structure, something that organizes the present whether acknowledged or not.” — Tracy “Rev” Collins, Tour Guide

The Guardian

• “The comfort white residents and tourists display toward Herbert’s camera – perhaps trusting that she, as a white woman, will understand or protect their perspective – remains mostly unexamined.” — Suzannah Herbert, Director

The Guardian

In conclusion, "Natchez" serves as a critical examination of how historical narratives are constructed and the implications of those constructions for contemporary society. Through its exploration of plantation tourism, the film advocates for a more honest engagement with history that acknowledges the complexities and contradictions of the past.

The Guardian