User Reviews

At times the film seems to belittle the role of its African-American characters. Placing them within a plot that is heavily concentrating on the dominant white thought towards civil rights. The African-American characters are somewhat shoved aside at the expense of the brutality directed towards them. Although it is possible to approach the issue of civil rights and race relations in this manner 'Murder in Mississippi' deals with the subject inappropriately. The oppressed few, a strategic selection of U.S students, are treated disproportionately. When accused of a crime by a federal body, in this case a bunch of small town police officers, the majority of screen time is dedicated to the female character. This seems rather odd, as at that point I thought the film was one dealing with race and the civil rights involved within it. And instead now it has chosen to pursue the issue of gender, yet allows in no way for a feminist stance to develop (the female judge could have invoked this but her persistent animosity is entirely misguided.) The subject matter skates from race to gender yet fails to allow either importance or stability. A misguided film, with numerous examples of awkwardly emphasised messages, of what I am not sure.

A note on cinematography- When composing a film, set within darkened rooms, using poor camera equipment, below par actors, and attempted realist lighting, why not at least attempt to have enough light in shot. At times I could not see anything happening on screen. In all seriousness, the African-American characters were themselves barely visible in scenes where there was light.

Avoid, or, if you're in my boat, and studying American Political Fictions, you may have no choice but to endure and humour it. (The courtroom scene is especially farcical)

A well done yet violent drama about injustice down south that results in murder because of hatred hidden by religious beliefs and so called anti-communist ideals, those theories thrown around like bible verses especially towards the young white woman involved in civil rights. The vile actions of the local law results in the death of northern college students who are only pushing the right to vote, their claims that everybody in their community is Happy absolutely absurd. Non-professional actors for the most part do very good jobs in showing the injustice of authority in this community, and the script shows the stark reality of how horrible minorities are treated.

There's one moment when the two young men given the job of "taking care" of the young white woman who has been accused of betraying her roots that is quite eye raising. They express their hatred for the sheriff and their desire to get out of this backwards town, yet show their own vile nature by insinuating their desire to take advantage of having her hidden. This film doesn't hide its exploitation intentions, and the result is often depressing and hopeless. It came at a turning point in history, yet obviously didn't make a mainstream impression. But it's one of those films that when you see you won't soon forget. It may not have helped change history, but it obviously got people thinking which is all that you can ask of films like this.

White dilettante Carol Lee Byrd (a solid performance by Sheila Britt) and her two friends are arrested by mean racist Sheriff Engstrom (a superbly slimy portrayal by Derek Crane) in the deep south for encouraging browbeaten black locals to become registered voters. After both of her friends are killed, Carol winds up being abducted by two sleazy rednecks who keep her at a secluded cabin so they can use her as their own personal sex slave.

Director Joseph P. Mawra, working from a bold script by Herbert S. Altman, tackles the explosive subject matter head-on with unflinchingly confrontational bluntness, maintains a tough seamy tone throughout, and vividly captures the seething racial tension, foul bigotry, and gross intolerance that was sadly prevalent at the time. Moreover, the strong underlying theme about civil rights gives this picture extra provocative substance. The moments of harsh violence pack a fierce punch. Otis Young contributes a powerful turn as determined and impassioned crusader Paul Jackson. Joseph Lesko's rough cinematography gives the movie a certain scrappy authenticity. William Rose's spirited score does the rousing trick. Worth a watch.