Das Attentat

I've seen this movie several times on the pay channels (the joys of modern television!). Overall the film is pretty good, and doesn't seem to take great license with history, which is refreshing. My only serious beef about this movie is the same as with Mississippi Burning and other films about the civil-rights struggle: Why do all of these movies insist on providing a white male central character, out to do good for the oppressed black people? Why not do this movie from the POV of Evers' widow, or brother? Because the (white male) power structure in Hollywood feels that audiences won't relate to stories without having a WASP in the middle of the action. This is not to minimize Bobby DeLaughter's role in bringing Byron de la Beckwith to justice; it's just to say that DeLaughter came along very late in the overall history of this case.

So, as to be expected, we're shown that DeLaughter braves ostracism, family conflict, and a death threat (probably a lot of them in real life). All very true, but we lose the fact that the Evers family went through all of this and more in 30 years of keeping the flame alive.

There are some good performances in here, especially James Woods, who had to be having a blast playing de la Beckwith, a mental midget and virulent racist in real life too. Baldwin is okay as DeLaughter but as bland as he normally is, even while affecting the Delta accent. Whoopi Goldberg is very good as the contemporary Myrlie Evers Williams, but ridiculous as the young widow in the flashback sequences. She's obviously too old, and it leaves you wondering if they were just too cheap to pay another actress or if Goldberg's ego is so large that she wouldn't allow it. The actor who played Evers' brother is so outstanding in such a small amount of screen time, you have to wonder why they didn't do more with him.

It's not a bad movie by any stretch, and it does give us a chance to see a little of what Medgar Evers was all about. I only wish that the film had been more about Medgar and Myrlie and much less about DeLaughter. As one other reviewer commented, this feels more like a made-for-TV movie than a theatrical release.

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.

THIS FILM IS BASED ON A TRUE STORY. Not only was the real Myrlie Evers consulted while making the film, two of her and Medgar's sons were actually in the film, playing themselves. Benny Bennett also played himself.

It was based on a actual (although little known) event in American history, and shows how there are still conflicts over civil rights today. We also learn that there are still some people in the Southern U.S. that are opposed to laws that have been in place for over 35 years.

So while watching this you shouldn't think "the story is cliche" or "the acting was good, but predictable," you should be thinking that this actually happened, and reflecting on how far we've come as a society, and how far we still need to go.

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.

This movie tells a fascinating piece of our history, how one man could escape justice for so long. It was very moving to see how he was eventually brought to justice.

Part of what made this a good movie was the way it didn't doctor the facts to make them more acceptable to a film audience. They stick to true history, and the most outrageous details in the film were true. (Particularly the detail of how the gun was found.) I like a film that respects an audience enough to tell the real history.