Das Attentat

Ghosts of Mississippi is an emotional movie that shows how hateful the human soul can be. It may be quite similar to Mississippi Burning but they both have their place. Ghosts of Mississippi is slightly more political and less violent. It focuses on the fight for justice and the roadblocks faced in controversial high-profile cases.

The sheer effort that was involved to develop a level of tolerance in the South is despicable. Every time I watch a movie where racism is so prevalent it simultaneously boils my blood and breaks my heart. The acting is very good and makes you feel like you are living the story. James Woods does such a good job that you can't help but despise him. Especially since he is portraying a real person and not a two dimensional character.

Don't underestimate the emotional connection you will have to this movie. It will move you and is certainly worth your time.

Glossy but highly effective thriller based on the true story of an attempt to bring a racially motivated killer to trial. The film suffers from a certain liberal obviousness: brave, charming white man (who loves his kids) and dignified black widow fight side by side for justice; but it's always compelling, and pertinent too. No magic, then, but a strong story: one of director Rob Reiner's better efforts.

Medgar Evers' tragic murder in Jackson, Mississippi, was overshadowed by the cold-blooded killing of three civil rights workers near Philadelphia, Mississippi, a year later. So too this film has been overshadowed by an earlier movie, "Mississippi Burning," about the Philadelphia homicides. I was even confused by the similar titles and accidentally rented "Ghosts of Mississippi," thinking it to be the earlier film. This is too bad because "Ghosts of Mississippi" is a winner all the way and Medgar Evers' assassination was as significant, if not more so, than the later dastardly acts of hate and malevolence.

Most of my generation remember one of Dylan's early recordings he wrote called "Pawn in the Game" about the Medgar Evers murder in which Dylan asserts that the coward who pulled the trigger and shot the civil rights leader in the back in front of his wife and three children was carrying out what the racist elements in Mississippi and in the nation as a whole had brainwashed the simple mind into executing. That the endemic racism in American was the real perpetrator of the heinous deed which deprived our society of one of its gifted leaders. "Ghosts of Mississippi" concentrates more on the scumbag who squeezed the trigger, played with élan by James Woods, almost a carbon copy of the killer in both speech, mannerisms, and looks.

James Woods is a member of a strong cast led by Whoopi Goldberg as the widow, Myrlie Evers, spending her life seeking a degree of justice for her husband and children. William H. Macy adds much needed humor in the role of Charlie Crisco, a member of the prosecution team. Unfortunately, his part is mainly limited to the middle section of the movie. Why director Rob Reiner and writer Lewis Colick decided to turn Macy's character into a cameo during the latter part of the film is unclear.

A subplot in the film is the growing involvement of prosecutor Bobby DeLaughter (Alec Baldwin) in the case, opening his eyes not only to the past evils of the society in which he lives but also hostile residue left by the civil rights movement in the state. Married to the daughter of one of Mississippi's most racist judges causes him to be blind to much of the injustice prevalent around him. Significantly, his wife is named Dixie (Virginia Madsen). The change that takes place in his character (which also involves a change in wives) as he is drawn deeper into the thirty-year-old case is pinpointed by his inability to continue to sing "Dixie" to his daughter to chase away the ghosts she sees at night. In explaining to her that the song might actually be encouraging the ghosts to reappear in her bedroom, the two opt for "Old McDonald" as a more suitable goodnight song.

It may not be the best film about race relations in the South. Mississippi Burning and A Time To Kill have more intensity, but it is still compelling and worth watching for some great performances.

Alec Balwin (Bobby DeLaughter) turned in a fine performance. Personally, I feel it is the best he has ever done.

James Woods was perfect as Byron De La Beckwith. He channeled the venomous hatred and cocky arrogance so familiar in those who were consumed with their self-worth, gained by stomping on others. This performance resulted in an Oscar nomination in a year with many fine performances.

Dixie DeLaughter, played by Virginia Madsen, shows how ingrained racism is in the South, and how difficult, if not impossible, it is for a marriage to survive with a disparity in views, whether it be race or politics.

I also enjoyed seeing Wayne Rogers as Morris Dees, even if it was a small role.

This is an important film that should be seen by all who care about the state of race relations in this country.

It should also be see by all young people so they can see a sign at a gas station saying 22 cents a gallon. Those were the days.

Based on fact and directed by Rob Reiner, Ghosts recounts the investigation, and retrial in 1994 - after two mistrials in the 60s - of Byron de la Beckwith for the racist shooting in 1963 of Medgar Evers, an NAACP activist. The film has gained renewed topicality with the recent conviction of another white supremacist for the Birmingham, Alabama, Baptist Church bombing, also in 1963.

Alec Baldwin gives a solid, and sometimes stolid, performance in the central role of prosecuting DA, Bobby DeLaughter (pronounced DeLaw), himself from Mississippi's white uppercrust, whose marriage hits the rocks because of his pursuit of the case. James Woods, convincingly made up to look over 70 for most of the movie, is electrifying as the arrogant, hateful Beckwith. Whoopi Goldberg portrays Medgar's widow with a lot of dignity and even a touch of humour, but it would have been understandable if she had also displayed a little more bitterness.

The movie is possibly not as powerful as Reiner hoped, partly no doubt because he was restricted by the facts. In particular, the retrial seems to have thrown up little or no new evidence, thus making the courtroom action less dramatic than in a fictional movie. Perhaps a greater criticism is that the intense focus on Baldwin/DeLaughter, who is in almost every scene, tends to turn him into the hero of the movie; whereas it should be Medgar Evers, who as a civil rights activist in one of the most bigoted areas of the USA deserves everyone's undying admiration.

Despite the movie's flaws, it is gripping for most of its 130 minutes, and this was certainly a story worth telling.