after midnight on Sunday 21 June 1964, three young civil rights activists Americans, Michael Schwerner and Andrew Goodman, Jewish New Yorkers, and James Chaney, a black born in Meridian, Mississippi, disappeared while returning to this city. They had been inspecting the ruins of a church that had been burned in Neshoba County border. On August 4, research conducted by the FBI, at the behest of President Lyndon B. Johnson, came up with the corpses had been buried in a landfill near an abandoned farm. The bodies showed signs of violence and gunfire. The subsequent judicial development showed that the government of the county and the Ku Klux Klan was behind the killings. The Freedom summer, the summer of freedom, time when African Americans were registered in the magnolia state so that they could exercise their right to vote, beginning stained with blood and hatred. Twenty years later, Alan Parker released his version of events: Mississippi Burning (Mississippi Burning). A kick to the genitals of the American empire. To avoid hurt feelings, Alan Parker placed the action in the fictional Jessup County. He arrived a group of men from the FBI under the command of the inexperienced and prudent agent Alan Ward (Willem Dafoe) and his partner Rupert Anderson (Gene Hackman), with more years of service, more realistic, therefore, and a cynical and sarcastic when listening to his superior that there are things worth dying, contends that some there believe that there are things worth killing. Gradually, suspicions were confirmed: the mayor, the sheriff's office, they all lie and hide the truth. But the impossibility of proving the obvious, that the wishes of the KKK are orders, is accompanied by fire, crosses, nooses, riots, beatings, lynchings and meetings of ghosts without hoods. When Ward discovered that the worm can only be opened from the inside, it's time for Anderson, who had a time winning the heart of a nice hairdresser and housewife, the frustrated Mrs. Pell (Frances McDormand), wife of Clinton Pell (Brad Dourif), a deputy sheriff.
Alan Parker filmed a superb dramatic recreation of some reprehensible acts that concerned, and much, to a society that was finding that this time the war was being waged at home. Although recognized as a brilliant director of actors, known here to get the best of them all, especially Frances McDormand, exceptional in each of his trembling gestures, and some luxury side, among them Ronald Lee Ermey (the Mayor Tilman), Michael Rooker (the fascist voice breaking), Pruitt Taylor Vincent (the scary Klan member) and Stephen Tobolowsky (Townley, most of the pointy heads), and despite the remarkable artistic production and costume (of Tobolowsky believe many of the extras that appeared on the scene of the rally of his character were real members of the KKK, and no reason not to, knows what he speaks: he comes from a family known for its struggle for equal rights), was in the planning of the scenes where he achieved more success and impact on the public, making unforgettable ride of well-dressed FBI agents for the swamp, the water waist ; the intrusions of Anderson in the social club and the barbershop, especially the ending with the Clinton Pell body spinning in a chair, the blow to Ward and the subsequent fight that ends when draws his weapon, the barn on fire with its owner's body hanging from a nearby tree, the masked men waiting for the exit of the parishioners of Mass, the incriminating confession extorted by a black man wielding a razor blade to a white kidnapped, torture Tarantino certainly has screened more than once, pictures and dialogues in which slowly choking rage, in which nothing is neglected, as no name in the female lead, a humiliation executed in the name of tradition and family. Indeed, in Mississippi the clocks are set back a century.
Despite the success of the film, with the criticism by announcing that he had forgotten Parker the box office, outcomes with fright at the last roll of the musical entertainments, and had returned to the successful path of film denunciation, Midnight Express (Midnight Express, 1978), or perhaps because of that the director felt he had not said everything about the racial segregation and became involved in a love Asian WASP just as the bombing of Pearl Harbor: Come see the paradise (Welcome to paradise, 1990). Committed the blunder of talking about xenophobia through love, sentiment latent in Mississippi burning perhaps not consummated before the viewer's eyes became more special and credible, by the way that facilitated the digestion of horror that attended. And the story of a housewife who gives the stranger had been seen a thousand times and I would then let us remember the photographer Clint Eastwood, but when it comes to talking about such thorny issues as racism, it left in a very quiet background.
Mississippi Burning (Mississippi Burning, 1988)
In the book 1001 movies you must see before you die (Editorial Grijalbo) no details titles A. Parker.
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