By Michael Cusumano 

Abraham Lincoln abilities as a writer probably would have earned him a place in history even without his accomplishments as a statesman. He is surely the best writer that has ever occupied the Oval Office. Capable of expressing complex ideas with remarkable economy, he had a deft hand with allusions and was responsible for many evocative turns of phrase that resonate far outside the political context of their time, “The better angels of our nature” or “The dogmas of the quiet past”.  Hell, simply opting for “Four score and seven” over “eighty-seven” reveals a writer’s ear for the musical potential of language.

It's a fitting tribute then, that the most prominent film about the sixteenth president, Steven Spielberg’s Lincoln, with a screenplay by Pulitzer prize winning playwright Tony Kushner, exudes that same love of language. There’s scarcely a scene without some memorable linguistic spin. There's much to admire in Spielberg’s film from the beautifully worn production design to the momentous performances, but the real reason I’ve returned to it repeatedly since 2012 is simply because the characters are such fun to listen to. All of the film’s dramatic peaks involve the spectacle of verbal fireworks, particularly my favorite scene, where Tommy Lee Jones blasts his way out of a political trap firing off ornately worded insults like cannonballs...