Verflucht sind sie alle

A famous Hollywood story goes that sometime in the mid-to-late 70's, Richard Burton was at a party and got talking to Lee Marvin, whom he thought he had never met. Eventually Burton remarked that the two men should work together at some point, to which Marvin simply stated, "we have."

That Burton forgot making 'The Klansman' is unsurprising, considering his unintentionally hilarious and obviously intoxicated performance in the film. He stars as a liberal Southern landowner named Breck Stancill, who is brought into the local furore after a white girl makes allegations of assault against a black man. Marvin co-stars as the town Sherriff, Track Bascomb, who tries in vain to quell the uprising of racially motivated violence that ensues. Also, in his first credited role, OJ Simpson plays a vigilante who uses the situation to start a one-man revolt against the Ku Klux Klan.

An adaptation of the 1967 William Bradford Huie novel of the same name, the film had a troubled production history. Adaptation rights were first purchased that same year, but were then passed around for the next couple, with no projects ever getting off the ground. At one point Samuel Fuller was attached to write and direct, but that too never transpired. His screenplay was eventually rewritten by Millard Kaufman and Terence Young took over as director. Burton and Marvin were then brought in and proceeded to drink their way through the shooting process.

The finished film is a tonally confused, visually unexciting and oftentimes very funny concoction that doesn't have a lot going for it on paper. Huie's hard-hitting story about racial violence is diluted and obfuscated by camp moments like a fight scene where Burton drunkenly karate chops people, throwing many through doors. The dialogue sounds stilted and preacherly when it isn't hilariously over the top.

The movie is cheap looking, even for something billed as a work in the exploitation genre, looking like cinematographer Lloyd Ahern forgot to clean his camera lens before shooting began. As well as all that, many of the supporting actors have had their voices dubbed in post-production and it's not a subtle or decent piece of work (with the dubbing of Luciana Paluzzi being the most notably inept).

Which is not to mention Burton's performance at all. In every scene it is obvious he's four sheets to the wind and clearly has no interest in the material. Struggling with his Southern accent, he's like a poorly drawn, very funny caricature. Though reports say he was doing an equal amount of drinking, Marvin actually delivers a steady, interesting performance as the Sheriff, not once appearing intoxicated. There is much pleasure that can be drawn from watching Burton act in 'The Klansman', but none of it was intentional.

Having listed all those detractions, it may surprise you that 'The Klansman' is actually a very entertaining movie. There are moments where the themes and sequences from Huie's novel are treated with a measured hand, like the rape scene and some of the locals' ignorant conversations, as well as the finale. These are visceral, powerful and neatly directed by Young.

Burton and Marvin's characters are well drawn, with the Sherriff being one of surprising depth- again, thanks in large part to Marvin's performance. The OJ Simpson character is intriguing, even if his story is not fully explored, and the local racists- led by David Huddleston- have some great scenes that are genuinely affecting.

At the end of the day- whether they wanted it to be or not- the film is funny, and anything that makes you belly laugh in these dark times is a positive experience. 'The Klansman' is not a hard-hitting story about racial prejudice and violence in a small town, nor is it a good adaptation of William Bradford Huie's source material. It has dark elements that are well realized for the screen, and are quite difficult to watch- brutal racism is never palatable- but, overall, it's a joyride piloted by a drunken Welshman that's very entertaining.

Hard-edge social drama centers around racial conflicts and is one of the most strange cinematic forays in this theme. The film begins with a bill captioning : ¨Drive carefully you are in Wallace County¨. This is the tale of a sheriff (Lee Marvin) in an US Southern town and a rich owner (Richard Burton) who protects the black men. Marvin receives a huge amount of hostility from the non-tolerant white establishment making his job very hard and every around has to decide the values really lie. The Ku Klux Klan (comes from Greek, Ku Klus that means band or circle and Klan that means family) pursues and mistreats the black people and the sheriff attempting to keep peace on racial tensions. When a young woman has been violently raped (Linda Evans), the white men immediately declare the culpability an African-American named Garth (O.J.Simson). He flees to the backwoods and wishes revenge. Meanwhile the Klansmen form some lynching party hunts and pursue him. The young on the run because the violent group seek to destroy him. But the racist posse kidnaps a beautiful African-American (Lola Falana) and rape her.

This is a horrifying story of racial violence and xenophobia with countless shots of violation , burning crosses and frequent bad taste. Unfortunately, this is another example of a serious movie about xenophobia and racism in which white roles predominate and African-American characters provide background. Terence Young treads a brutal, gory path in this low-powered look at warped , evil white inhabitants of an American town , and the comparatively clean role played by Richard Burton. Big-name cast is wasted as Cameron Mitchell,Linda Evans, Luciana Paluzzi, David Huddleston as the Mayor, they only partially shine. Rumors circulated about Lee Marvin and Richard Burton , both of whom utterly drunk during the shooting. Even the all star cast can't save this movie because is a nightime Soaper and an exploitation story. Lousy cinematography by Lloyd Ahern and Aldo Tonti, as is necessary an urgent remastering. Furthermore notorious conflicts among producers, director, screenwriters (Sam Fuller, Millard Kauffman) and actors made a real flop. Mid-budget production, and the producers would like to thank the citizens of Oroville for their enthusiastic help and cooperation in the making of the film. The picture belongs a period in which made stories is similar style concerning on racial problems , such as ¨Hurry Sundown¨(1967, by Otto Preminger with Michael Caine, John Philip Law, Jane Fonda), ¨The liberation of L.B. Jones¨(70, by William Wyler with Lee J Cobb, Roscoe Lee Browne and again Lola Falana), ¨Tick, Tick¨ (70 by Ralph Nelson with George Kennedy, Jim Brown), and the Oscarized ¨In the heat of the night¨(by Norman Jewison with Sidney Poitier). And in the 8os stands out ¨Missisipi Burning¨ (by Alan Parker with Willem Defoe and Gene Hackman). Rating : 4,5, below average.

Mr. Mike's Couch Time Movie Review: I just watched a budget DVD version of this picture. All the curse words but not the "N" words were all edited out. This is easily the worst piece of film that Lee Marvin has ever been associated with. In fact, it's the worst piece of film HOKE HOWELL has ever been associated with! At least Howell can tell his grand-kids that Linda Evans played his wife in a movie....(Hello, get me casting....) The entire plot of the film is edited out of this version. Did they make a TV cut to capitalize on the mini-series Roots? Maybe that explains this. I can't believe that an airline movie print exists either of this monstrosity.

Lots of familiar faces for stereotyped celluloid of the Old South: Cameron Mitchell, David Huddleston (if you guessed the corrupt Mayor give yourself 5 points!), Howell. But some of the oddest casting ever: Richard Burton co-stars with Marvin, as a left-leaning liberal, peace-loving friend to all races (at least all the women of all the races.) Early on, he's in the sack with Luciana, the local policewoman. There's an implied relationship (this is 1974) with Lola Falana. And after (unbelievably) trying to persuade a hippie clergyman to seduce the recently raped Linda Evans (?), Burton has to dirty his hands with this one too. I mention Falana. She's very good in this movie. As is (drumroll) OJ Simpson, Simpson plays (in this version) just a guy whose fed up with the Klan. Maybe in the complete version, it's Simpson who turns out to be the undercover FBI agent, since Marvin, the Sheriff, repeatedly catches Simpson only to let him go. Who knows? Who cares. The soundtrack is not to be missed either (insert sarcasm here) Memorable scenes: the Klan funeral interrupted by sniper fire, a high-speed herse chase, and 2 car explosions. Then there's the comedic (?) fight scene between Mitchell and Richard Burton and Richard Burton's stand-in.

I just love bad film making. And this didn't disappoint. The Klansman gets 3 potatoes one for Richard Burton's stand-in, one for Richard Burton's on-again, off-again southern (?) accent, one for Richard Burton's on-again, off-again limp

I'd heard a lot ABOUT 'The Klansman' but had never seen it before, and hearing the behind the scenes stories (original director an co-writer Sam Fuller walking off set, stars Lee Marvin and Richard Burton both being allegedly so drunk they couldn't remember making it!) I imagined that it was going to be one of the worst movies ever made. It isn't. Now it isn't all that good, mind you, but it's watchable b-grade trash, and Marvin puts in a good performance, drunk or not. Burton's accent is I agree not too good but he is okay, especially if he like Marvin was as drunk as they say he was. The rest of the cast includes the notorious O.J. Simpson as a one man black revolutionary with a gun and an attitude, 'The Big Lebowski's David Huddleston is a racist mayor, and legendary character actor Cameron Mitchell ('Hombre', 'Ride In The Whirlwind', 'The Rebel Rousers',etc.) as the wonderfully named Butt Butt Cates, the later two both being members of the KKK. Linda Evans also appears as a rape victim who sets off a chain of events which end off in violence and tragedy. The main problem with the movie, and this is most likely because of the drama off camera, is that the movie can't decide whether it's trying to be a serious message movie or an exploitation film using racism as an excuse for some sensationalistic thrills. 'Mandingo' made the following year (and its sequel 'Drum') managed to juggle both approaches with a little more success, but 'The Klansman' suffers for its lack of a clear direction. Even so, this movie is nowhere near as bad as many people claim (people who I imagine have never actually WATCHED it) and is still reasonably entertaining, especially if , like 'Reservoir Dogs' Mr Blonde, you are a big Lee Marvin fan.

The Klansman could be one of two things. It is either a brave exploration of racial hatred and violence in the US Deep South. Or, it is a reckless film which is trying to generate entertainment by exploiting racial tension. I don't agree with the majority of critics who say that this film is violent and trashy rubbish.... in my eyes, it poses enough interesting questions and pushes the audience out of their comfort zone sufficiently to be a worthwhile film. I wouldn't say that it's a great, misunderstood masterpiece, but it is definitely a film that needs reappraisal.

The story is set in Atoka County, Alabama, where race relations are balanced on a knife edge. The rape of a white woman by a negro triggers off a campaign of Ku Klux Klan violence, including the castration of a black youth, which in turn leads to retaliation by black extremists such as O.J. Simpson. Thrown into the struggles are Lee Marvin (the town sherriff who knows that racism is bad but tolerates it in order to cling to a degree of order) and Richard Burton (a landowner who sympathises with blacks, but is haunted by memories of what the Klan did to his grand father).

The film contains at least one unwatchable rape scene and some tasteless dialogue. It also suffers because Burton is so clearly miscast as a southern sympathiser (his accent is dodgy and he seems disinterested in the story). However, it takes a highly chraged theme and deals with it interestingly and provocatively. The violence jolts you out of your chair and forces you to think about the two sides of the argument. The climax is memorable and leaves you feeling empty and sick, especially at the waste of life caused by the single-minded, lethal actions of racist extremists.

A decent film, then, worth seeing for yourself. The critics got this one wrong. Give it a go.