When the movie camera simply bares witness, the lines blur between documentary and narrative film. Such is the case with the brilliantly simple art that cinematographer Peter Biziou practices in the 1988 film “Mississippi Burning.” The film’s opening few minutes seem as if you are flipping through a Time Life historical pictorial review conveying a time in the not too distant past that is burned into the collective memory of my generation. And yet, it still clearly demands to be reviewed anew in today’s time.
No, Hollywood stars glide past the opening shots. In fact, of the few actors we meet in the quick minutes that follow, three of them are never seen again, yet they represent the real life characters who are the tragic heroes of this story.
The film takes its inspiration from the true-to-life story of the night that three civil rights workers, James Chaney, Andrew Goodman, and Michael Schwerner, went missing after heading back home from their work in Mississippi. For Andrew Goodman, a White college boy from the Upper East Side of New York City, it was his first and last day on a campaign known as “Freedom Summer.” The project focused on voter registration among Black Americans in Mississippi. If aspects of this story might sound familiar, make sure you are not confusing this drama with that of contemporary voter suppression efforts still unfolding in Georgia.
A Young Gene Hackman (Anderson) and an even younger William Defoe (Ward) show up in the very next scene as G-men (FBI agents) who have been sent to investigate the presumed race-motivated murders of these three young men. Though only one of them was Black, the other two were Jewish, so it was believed from the start that this was the work of the KKK. The two Federal officers are met with backwoods southern politics that still seem all too prevalent to me today when I visit certain areas of the south. It's clear they’re going to get nowhere fast and certainly with no help from the local Sheriff who is as open in his unwillingness to see justice done as are his deputies about their racism. They are deep in Klan country, and each of the FBI agents must learn to deal with that in their own way in order to solve these murders. But even with the heavy outside Federal law enforcement presence, the KKK is still emboldened and still committing their hate crimes. Including attacks against Anderson and Ward. Just to confirm again, don’t get confused with the rise of current Nazi and Klan fueled rallies.
We, or at least I, like Defore’s Northern-based character, understand his repugnance for these hate crimes. As such, we, like Defoe, are equally troubled by what seems to be a complacency from Hackman’s character. This agent, we learn, grew up in a small Mississippi town much like this fictitious one of Jessep County. It is perhaps not until he pushes in uninvited to the local upstairs good ole boys beer swilling social club and delivers one of the best lines of the movie, despite fully knowing he is in hostile territories. Watching a few moments of the sports game that can be heard crackling over the old TV on the wall of the club he is asked if he likes baseball. He answers back, “Yeah, I do. You know, it's the only time when a black man can wave a stick at a white man and not start a riot.” Now we understand what side of the lines he falls on and we are rooting for him.
The film also includes aspects of the national news coverage the investigation received in real life as well. On-air journalists interview locals about their views, which adds to the hybrid feel of documentary meets fiction film, or more fittingly judging from their answer, perhaps a horror movie. Although the film covers some of the violence and threats the “left wing liberal media” (see even back then) experienced, In some ways it could convey even more to further demonstrate how the media in many ways became an agent of change during the civil rights movement.
Watching the film again on the eve of the 47th president attempts to curtail our Equal Opportunity Laws (put on the book by President Johnson of the same era as in the film), as well as all Diversity Equity and Inclusion programs, hits hard like a celluloid punch in the face. As well it should! It is a stinging reminder that racism is systemic in our country. It has at best been playing possum (to use a somewhat southern or Appalachian expression). However, make no mistake, it is being empowered and will, I fear, embolden grassroots acts of aggression and violence once more that might then simply be pardoned.
Someone of today’s generation might wonder why Southern Blacks didn’t rise up and fight back. To that I say, you absolutely MUST watch the movie, but with your grandaddy. The haze of hate and anger hangs over this film like a stank southern summer day and even though it might cool slightly come nightfall there is no relief in sight, especially under the heat of a burning cross. It is even the rare White woman, in this case the wife of the deputy played by Frances McDormand, that intuitively knows it is wrong and eventually speaks up. But the Klan knows no boundaries even here, and stands by their man as he beats unconscious the women in his life that didn’t.
Like Defoe’s character, and probably much like the young Andrew Goodman, I too find it hard to approach this issue in a professional manner, even as documentarian and journalistic. Sadly, it still taints my visits to the beautiful south. There is still, in my senses, the slight smell of burning timber from those Black Southern Baptist churches that fell to this hate. There is still the hint of sweat and blood in farmlands of the area, which stain the foundation of the otherwise stunning antebellum mansions. And, though the poplar trees bear no fruit, there is the everlingering threat that the south might “rise again” and yet bear a strange and bitter fruit.
The Andrew Goodman Foundation continues the good work started by its namesake as well as the work of Chaney and Schwerner.
Visit: https://andrewgoodman.org/ and or Southern Poverty Law Center https://www.splcenter.org/