उपयोगकर्ता समीक्षाएं

THE GREAT WHITE HOPE is a successful play by Howard Sackler first, premiered in 1967 and both Jones and Alexander won Tony Awards for it. Then this film adaptation sticks with the two leads and is directed by Martin Ritt, whose works are generically significant in requiring dramatic acting predisposition (THE LONG, HOT SUMMER 1958, 6/10; MURPHY'S ROMANCE 1986, 7/10).

The scenario is about the black boxer Jack Jefferson (Jones), whose real-life archetype is Jack Johnson, the first African American world heavyweight boxing champion (1908-1915), his up-and-down life orbit and the relationship with his white financé Eleanor (Alexander). And the title signifies his opponents' urgent solicitation for any white boxer who can reclaim the golden belt from him.

To be expected, the first half is a prolonged battle against the racist's bias inside the US nation, Jack's gregarious and often jokey public image is his weapon to counteract the provincial prejudice, but when he faces his own kinds, he takes umbrage at their equally biased minds, which shows how in-your-face and sapient is Sackler's script, external hostility is disrespectful, to be sure, but it is the internal rift that hurts the most (usually due to jealousy). Fortunately, their unconditional love is the remedy for this part, Jack wins the champion title but soon to be deliberately persecuted by authority figure sand has to sneak away from homeland and go into exile in Europe, with a daring scheme to get away under the police's eyes after receiving his mother's blessing, Jack escapes with Eleanor, his agent Goldie (Gilbert) and loyal trainer Tick (Fluellen).

The second part of the film is an extensive hubris study, from a national champion to a down-and-out exile, Jack and Eleanor's affinity is under severe strains, from Great Britain, France to Hungary, Jack persistently refuses to go back for a lose-it-all match in exchange of getting his charges revoked, he dismisses Goldie and they relocate in Mexico, it all goes down to Jones and Alexander's heartbreaking bickering scenes which is unsparingly painful to watch, and at the cusp of the tension, a tragedy would unexpectedly ensue, and finally Jack caves in, fights for a match he is doomed to lose. The spectacular performance is the bona-fide highlight of this theatrical piece, both Jones and Alexander are remarkably scintillating and intensely heart-rending, they were worthily Oscar-nominated that year, as her screen debut, Alexander has a borderline leading role but her plaintive mien and inviolable finesse proves that acting is her vocation. Jones, before he would become the universally beloved voice of Darth Vader, clearly goes all out in a hard-earned leading role for a black actor at then, he scopes out both the charisma and the weakness of his character quite remarkably, although physically he doesn't bear a convincing resemblance of a brawny boxer.

If you are a sport fan and into boxing matches, the film would let you down mercilessly, by modern standard the final showdown is conspicuously fake, all the jabbing and punching are laughably posed, but it would be a different matter for theatrical connoisseurs, for me, I didn't see the ending coming as it is enacted in the film, a nice conceit indeed, he doesn't fake to lose the game, purely he is not that champion any more, he is a man destroyed by this unjust world, a tragedy of his time and a tale of woe resounds profoundly.

Concluding reviewing African-Americans in film in chronological order for Black History Month, we're at the near end of 1970 when James Earl Jones reprises his Tony-winning role as boxer Jack Jefferson in film version of The Great White Hope which got him an Oscar nomination. Since this takes place in the early part of the 20th century, he's not very much liked by the majority white public of America at the time certainly whenever he's seen with his Caucasian female partner Eleanor Backman (Jane Alexander, also Academy nominated). His former girlfriend Clara (Marlene Warfield) certainly resents Eleanor for usurping her power over Jack who has no use for her. Good thing he has his manager Goldie (Lou Gilbert) as well as his trainer Tick (Joel Fluellen) on his side so they all go to Europe where they don't have to worry about jail time. I'll just stop there and just say that the staginess is quite evident in many scenes. Still, both Jones and Ms. Alexander are effective whenever they're together whether intimate or arguing. And Fluellen has his biggest role here and makes the most of it. In addition, it was such a treat, after playing husband-and-wife in Guess Who's Coming to Dinner, to see Beah Richards-as Jack's mother-and Roy Glenn-as a pastor at her house-in the same scene again. And seeing Bill Walker-so memorable as Reverend Sykes in To Kill a Mockingbird-playing a deacon in an early scene was also pleasurable to me. One more thing, Hal Holbrook has a memorable turn as an attorney interviewing Ms. Alexander. So on that note, The Great White Hope is highly recommended. Oh, and while this is the official last entry for BHM, there are a few movies I wanted to review in the time alloted that I'm viewing in the next few days (or weeks, depending on my mood) so if you are reading this under my username, watch this space for those reviews...

I continue to read comments about how this film is about Jack Johnson. That's not true. It's a story inspired by Jack Johnson, who was much more articulate and sophisticated than Jack JEFFERSON, who is the character James Earl Jones plays. Granted, every obstacle put in his path because of the severe level of blatant racism was true to Johnson's life. However, I just want to point out that the real man, in spite of his era, was a more intelligent and cultured individual than the Jefferson character. In spite of this complaint, the performances in this film are absolutely sublime! It deserves to be seen for the dramatic efforts of each performer, especially James Earl Jones. EXCELLENT acting, but not an accurate representation of the man himself.

I saw this movie in 2011. I love boxing history and I love Jack Johnson (Called Jack Jefferson in the movie) who should have a much larger name in boxing than he does. He was big and powerful. I would rank him right up there with the best heavy weights ever including Ali. Perhaps even better and certainly dealt with much much more controversy than Ali ever did.

This movie may have been OK in it's time.

First of all it never shows his rise to be the champ and that was perhaps a more amazing story as no white fighter would even fight him to give him a chance at the title.

James Earl Jones (JEJ)does an amazing job but I don't think he was the right person. They likely just did not have enough candidates. The real Jack Johnson had a much more amiable look to him. He was someone you liked by just looking at him and a natural charm. You can not say that at all about JEJ. JEJ tries to break down his rough persona to appear more like Johnson by sudden flashes of child-like smiles and gestures, that simply were unnatural and for me did not do the job at all. His constant back and forth of his normal serious look and poorly faked charmed simply seemed to flow poorly. He was simply the wrong person and too rough to represent Jack Johnson. Of course physically Jack Johnson was much larger and more muscular than JEJ.

Then the movie jumps around too fast. When Johnson was beaten in Cuba the fight also was different. It was scheduled for 45 rounds. Johnson won the early rounds but as he was much older and out of shape he eventually ran of gas. In the movie I got the feeling like he left a broken down champion that was beaten but in reality he was old and past his prime. Much like Ali was when he was beaten on his last fight.

The movie also misrepresented his love affair. He had multiple white lovers over the years and one did not die by suicide as shown in the movie.

I just could not figure out what the movie was trying to show at the end. He was a great champion or he was not so great?? The portrayal was not done right.

If you like to really know about him correctly read on Wikipedia or watch a documentary Called 'Unforgivable Blackness' that is a master piece.

BTW I am not Black or White American. No bias here. I am Persian. But I give credit to Jack Johnson who was simply one the best man I have learned about: as a boxer and as fighter of racism. He had his faults like everyone else of course.

A well-remembered film from my youth and one I've been keen to re-watch since recently reading a biography of Jack Johnson on whose life this thinly-veiled movie is based. I'm also a lover of boxing movies although truth to tell, his climactic fight with "The Kid" (read Jess Willard) apart, there isn't a whole lot of fight action in the movie.

In this and other ways, it rather betrays its theatrical origins, like the obvious act-closing scene when Jefferson (read Johnson) bays "I'll be here" at the moon and other slightly overheated scenes, especially the intimate scenes between the champ and his white girlfriend, not to mention other over-dramatised incidents particularly the "Rocky"-esque final rounds of the last fight and the Ophelia-like demise of Eleanor just before it.

The film also perhaps too obviously reflects its own times as it too blatantly looks to reach out from the screen to chime in with the Civil Rights arguments of the then present-day rather than of Johnson's own time. I might also argue against the downbeat ending as presented here and personally think the film could have easily just concentrated on his historic fight with the Brady (read Jim Jeffries) character as a more upbeat finish even as I appreciate that this would have omitted the tragedy of what followed as the FBI, press and the white-controlled boxing hierarchy all combined to strip Jack of his hard-won title. Here, you see almost nothing of the fight action in Reno between the two combatants, far less Johnson's final knock-out of the returning ex-champ, himself out to recapture the title belt for the white race.

It wouldn't be the first time of course that either Broadway or especially Hollywood would rewrite history for its own ends and maybe I'm being somewhat revisionist myself in my feelings today about the film. It still manages to pack a punch in many ways especially Jack's clever escape from the police with the help of the local black baseball team or the staging of the last fight, with the crowd scene around the ring vividly resembling the actual footage of it in Cuba back in the day.

What's not in doubt either are the excellent lead performances from James Earl Jones and Jane Alexander or the recreation of the era by director Ritt.

This really is a movie, good as it is, that I think could benefit from a modern-day adaptation less devoted to the original play and in so doing give Johnson back his real name and slightly less histrionically tell his remarkable story to a new generation.

That, at least, is the great (white) hope of mine I take way from this still worthy movie.

In the early 20th century, boxer James Earl Jones (as Jack Jefferson) fights his main battles outside of the ring. He becomes the first "black" heavyweight champion of the world, but Mr. Jones finds the going gets tough after shacking up with "white" woman Jane Alexander (as Eleanor Backman). Back then, most people did not cotton to race mixing. Eventually, the battle infects Jones' relationship with Ms. Alexander. This film doesn't do justice to Howard Sackler's award-winning play, but it is worthwhile in several respects. Highlights include Irene Sharaff's crisp costumes, the later locations and several notable performances - especially Jones' charismatic and powerful lead.

******* The Great White Hope (10/11/70) Martin Ritt ~ James Earl Jones, Jane Alexander, Chester Morris, Hal Holbrook

It's criminal that this movie doesn't get the type of attention or respect it deserves. Great White Hope chronicles the life of Jack Johnson, the first black heavyweight champion, and his bouts with the racism of the 1900s. Before this movie, I never understood where James Earl Jones got his reputation from. Clearly it's from this. He commands all of the scenes he's shot in, demonstrating a mastery of his craft that I've rarely with any other actor. Jones rages and roars through the movie, conveying a mixture of pride and frailty that is simply not to be missed.

At the risk of being redundant: don't sleep on this movie. It's James Earl Jones at his best.

In 1968, the play "The Great White Hope" debuted. In 1969, it received the Tony award for Best Play and Best Actor. In an unusual move, Hollywood brought this film to the screen and kept the two leads--James Earl Jones and Jane Alexander.

The story is a fictionalized version a portion of the career of Jack Johnson. Names were changed (Johnson became Jefferson)--and I assume this was to avoid legal difficulties if the play and film differed from Johnson's real life. However, despite a few changes, it clearly IS the career of Jack Johnson from just before he won the Heavyweight Championship through his legal troubles because he had the temerity to sleep with a white woman during an era of rabid racism.

The second half of the film concerns Jefferson's exile. After a trumped up charge for violating the Mann Act (intended for prosecuting the prostitution trade), he and his friends flee the country. During this time, work is hard to come by and slowly Jefferson's spirits begin to fail--and he begins lashing out at everyone. First, it's his trainer and friends and then he becomes vicious towards his white girlfriend--very, very, very vicious. This part of the film is harder to watch and seems a bit slow, though I admire how the film didn't try to portray the man as an angel or just stoically accepting his fate, as Johnson's life did spiral out of control following his legal problems. He became an emotional mess--just like Jefferson.

Overall, this is a good film about race prejudice but it's not perfect. I would have rather they'd just dropped the 'Jefferson' stuff and simply made a biography of Johnson. Also, there is a lag in the film's tempo and the film drags a bit in portions of the second half. Still, it's a powerful film and you'll see Jones at his very best.

By the way, at the 53 minute mark, you see Mr. Jefferson and his entourage watching the guards outside Buckingham Palace. In the distance, you can see MODERN buses and cars--not ones from the early 20th century. It's probably not apparent on smaller televisions, but on the 58" one I saw this film on, it was VERY clear--and must have been even more obvious to folks who saw it in the theaters! Also, in case you were wondering, at the outdoor beer hall in Germany the German soldier kept shouting 'Kameradschaft'. This translates to 'to Comradeship' or 'camaraderie'.

Before I fully begin, let me make one thing clear: The emphasis in this film is not boxing, but the life of a boxer (Jack Johnson) played by James Earl Jones (Darth Vader).

In telling the tale of Johnson's life this movie depicts the racial boundaries going on in America in the early 20th century. Unlike many films which tell a tale of racial injustice, this film manages to do it:

a) Without sugar coating anything. b) Without being over-dramatic.

I saw it today on television and I didn't know what to expect before it started. I was interested to see it because I've heard references made to it in the past and was curious. I can say for certain that giving this film a chance, and watching it beginning to end, is the best movie-related decision I've made in a long time (at least ten-thousand times better than deciding to rent Resident Evil 2).

In watching this I got a deep sense of reality. A big reason for this is a simply phenomenal performance by James Earl Jones, as well as solid acting on the part of Jane Alexander and many of the supporting cast members.

I couldn't believe that IMDb only has 8 reviews of this movie (at least at the time of me writing this), and due to some folks totally missing the point of it, it has a somewhat sad rating.

SEE this film if you are into compelling stories about interesting people which are well written and acted.

DON'T see this film if you expect Rocky III.

There are a lot of good movies out there and I enjoy all manner of cinema, but I can say without a doubt in my mind that The Great White Hope has made it into the realm of my favorites.

10 out of 10

I first saw the play at least 35 years ago when it debuted at the Arena Stage in Washington, D.C., with James Earl Jones and Jane Alexander in the lead roles. Recently, Arena revived the play, and I thought it was dated and a dud. But the film, which has just appeared on PBS, reminded me of the power, not so much of the play which has elements of caricature, but of the acting. Jones and Alexander were both outstanding in the movie, Jones as the black heavyweight champion (Jack Johnson in thin disguise)and Alexander as his white lover. The two of them deserved the stardom that came with these roles when the play moved from the Arena Stage to Broadway. It may not even be the best movie about boxing, but it's worth seeing because of Jones and Alexander. Moreover, the virulent racism directed at Jack Jefferson (Jones's character) and the role of the Federal government in prosecuting him under the Mann act are useful reminders of the way our country was at the beginning of the 20th Century. long ago.

I have the healthiest respect for Director Martin Ritt's work, which consistently displays a honest vein and an interest in social issues - notably relating to race (SOUNDER, THE GREAT WHITE HOPE) and labor/female rights (NORMA RAE).

James Earl Jones carries most of the film with a charismatic but gradually increasingly irritating grin as he faces up to the legions of whites who want him defeated and object to his love relation with Jane Alexander, who delivers a constrasting, understated performance as a white woman in love with a black man at a time - early 20th Century - when interracial relations raised eyebrows.

The story is clearly inspired by Jack Johnson, the black boxer who no white champion would fight because no interracial boxing was permitted. In fact, the real reason was the white community's fear of the symbolism of a white losing to a negro in a very popular, physical power sport like boxing. In 1910, Johnson was finally given that opportunity by retired white champion James Jeffries, who had not fought in four years, was in poor physical condition, and was much shorter and smaller than Johnson.

In THE GREAT WHITE HOPE, James E Jones is phyically much smaller than his Caucasian opponent and loses, which is a travesty of the actual Johnson story that inspired the screenplay by Howard Sackler, whereby at the end Jones is defeated to the glee of thousands of whites celebrating the preservation of white supremacy.

Done in 1970, when civil rights campaigns were at their peak, the film taps into the insecurity of whites, and their fear of competition at all levels from other races. Alexander stands out as a white woman who has everything social to lose by keeping alive her relationship with a black man.

Standard cinematography, uneven screenplay. 7/10.

This movie is based upon the life of Jack Johnson, the African-American boxer that was a champion at the turn of the century. What happened to Jack Johnson was despicable. He was tried and convicted of violating the Mann Act for which he had to flee the country to avoid prison time. The Mann Act/White-Slave Traffic Act of 1910 was an Act to further regulate interstate and foreign commerce by prohibiting the transportation therein for immoral purposes of women and girls, and for other purposes. It was liberally used against Jack Johnson for dating a white woman.

As for the movie, I wasn't terribly impressed. There was some serious dramatization which didn't make the movie good, it only made it preachy and angry. Whether Papa Jack Johnson was a likeable man or not I don't know, but he certainly was portrayed as a very brash and miserable character only a mother could love. To be honest, I'd like to see another movie done about Jack Johnson. They did two movies for Steve Jobs, they can do two for Jack Johnson.

This film is loosely based on the story of Black Champion Boxer Jack Johnson during the 1910s as he dealt with racism and suppression. The film stars the late great James Earl Jones (Jack Jefferson/Johnson), Jane Alexander (Eleanor), Lou Gilbert (Goldie), Joel Fluellen (Tick), Chester Morris (Pop Weaver), and Robert Webber (Dixon) to name just a few. Such a powerful and incredible performance by Jones, unlike anything I have seen from him. Usually he was always a supporting member of a film not the lead which was a shame. The supporting cast was as good as it gets. The story was written by Howard Sackler. Directed by Martin Ritt. The film did such an excellent job of telling what a famous man of color dealt with during that time period and how so many wanted him to fail which never deterred Johnson's drive to be the best Boxer. I thought it was very entertaining and a film that everyone should see.

He comes forward with fire and verve and you can tell just from this he can act. The fact that he plays an unl8keable man does not diminish his acting in this. Jack Johnson was a violent man with a raging temper, as many champion boxers are, it is the rage that fuels them. Even though I don't like who he played, it was still a tour de force of a performance.

A fictionalized biography, with some historical inaccuracies, of the legal troubles of Jack Johnson, the first black boxer to become world champion. He struggled to cope with the boxing industry of the early 1900s, dominated until his arrival by white fighters, but also with American morality, due to his romantic predilection for white women.

Black boxer Jack Jefferson's (James Earl Jones) rise is unstoppable, eventually becoming world champion in a title bout arranged by Pop Weaver (Chester Morris), but his affair with Eleanor Bachman (Jane Alexander), a white aristocrat, lands him in trouble with the federal prostitution law. Although married, the two lovers are forced to flee abroad along with prosecutor "Goldie" (Lou Gilbert) and trainer Tick (Joel Fluellen).

Martin Ritt's meticulous direction avoids stylistic excess, focusing heavily on the characters and seeking to stimulate the audience's emotions with emotionally charged scenes, such as the scenes in the boxing ring; Howard Sackler adapts his own play for the stage and the big screen, maintaining the original setting with long, intense dialogue; the two lead actors, who fully deserved their Oscar nominations, are decidedly on point.

Turning point: the narrative of the Mexican exile is the climax of the story, where all the knots come home to roost and the plot undergoes a sudden shift.

James Earl Jones has certainly done fine in his career; if he ever feels his talent has been overlooked, I'm sure that, after supplying the voice of Darth Vader and CNN, he's crying all the way to the bank.

Still, I regret that he hasn't left us a greater body of work on film that is worthy of his talent. Much of his best work has been performed on stage. (For instance, right now he's performing with Cicely Tyson on Broadway in a hit revival of *The Gin Game* -- go see it if you can!)

But in films? After *The Great White Hope*, you'd think Jones would have been deluged with offers for Oscar-caliber roles in Oscar-caliber films; instead, we saw him (performing admirably) in a series of mediocre films and a short-lived TV series. Like many actors, he was probably glad to be working at all -- a gig's a gig, as they say. But he deserved better. No wonder he seems to prefer the theater.

So I treasure *The Great White Hope*, not only because it's a great, great movie,but also because it is the single shining gem in the film career of a great actor -- who deserved more recognition from Hollywood than he got.

(And to be fair to this magnificent film, I must also acknowledge the other actors, all superb.)

Well you can't fault James Earl Jones for tackling just about every issue on the books in this drama about a heavyweight boxer. "Jefferson" is the champion of the world and is making short shrift of his opponents. Needless to say, this is narking many of his (mainly white) brethren so when he and his fiancée "Eleanor" (Jane Alexander) fall foul of rules banning mixed couples from inter-state travel they capitalise on this and have him arrested. Thanks to an outrageously pink shirt and a bit of legerdemain, he manages to escape to Europe where he finds things only marginally better. That's not so much because of his colour, although that is a factor, it's more because those vested interests in the UK and France don't want to see their own champions pummelled into the canvas. Finally, a bit like the real Jack Johnson, he ends up in Cuba with a fight that could change everything, but by this point he and his gal are on different paths and even some amongst his own community are turning against him. JEJ is on lively and entertaining form throughout this critique on bigotry and boxing and his performance is well complemented by an Alexander whose characterisation of a woman increasingly struggling with his excesses is quite potent and plausibly delivered. The boxing action is not nearly so convincing, though. The use of long-shot photography shows up some of the basic editing and there isn't really that much actual action throughout this drama which can leave it perilously close to soap at times. Still, it's another film that illustrates just how hard people were prepared to work to escape an economic grind that offered working African American men very little by way of opportunity.

James Earl Jones and Jane Alexander were phenomenal in their respective roles. It was a very difficult film to watch because of the racism that was portrayed. It's too bad that Jack Johnson ran into so much racism and difficulty as a fighter because man could he fight. This is a great film and worth the time to see.

Recently, Ken Burns wrote an editorial calling on Americans to make amends for what they as a society did to Jack Johnson. "The Great White Hope" shows what American society did to him.

James Earl Jones plays Johnson, called Jack Jefferson here (the movie is fictionalized). He was everything that a black man in the early 20th century was not supposed to be: assertive, proud, and married to a white woman. His wife Eleanor (Jane Alexander) accepted him for who he was. Naturally, white people didn't like their marriage one bit; the black population believed that Johnson was "...gainin' an attraction to the white man's poon tang." Ostracized from society, Jack and Eleanor tried to live privately, but they were constantly hounded. Jack became increasingly abusive towards Eleanor, until she took her own life. Distraught, Jack went in for one last showdown in Cuba.

Regardless of what you think of the movie overall, it's important because it shows a part of our history that we may never be able to get over, and in fact are still addressing today. Director Martin Ritt espouses the same kind of social awareness that he discussed in "Hud", "Sounder", "Conrack" and "The Front". A masterpiece.

As an 18-yr old, I vividly remember when this movie came out and the swirling controversies that accompanied it. Whites were cautious because it openly dealt with not only an interracial love affair but because of the depiction of an unrelenting, proud, but very angry black man. Interestingly enough, with the advent of Black Power/the Revolution and the emergence of the Black Panthers, most black audiences were equally cautious as well and for exactly the same reasons. Also keep in mind I was living in the South then too. Even in 1970, few southern towns would actually show the film.

This is a variation on the real-life troubles of Jack Johnson, one of boxing's earliest contenders.

Hands down the most compelling performances are those of James Earl Jones and Jane Alexander that leave an indelible imprint on the viewer. Because of the racial fabric of the time, Jack knew he was asking for trouble by openly defying white authority and then compounding that by becoming involved with a white woman. Both undoubtedly knew full well what they would be up against. While they may have deeply loved each other in the beginning, they soon discovered that simply love does not conquer all.

The movie is also filled with treasures of African-American performances by the likes of Beah Richards, Moses Gunn, Roy Glenn Sr. and Virginia Capers. This alone is worth the price of admission.

In many instances it is most difficult to watch. Two mesmerizing and thoroughly wrenching scenes were Jane's suicide and when Jack and company were reduced to performing "Uncle Tom's Cabin" in Europe to survive.

The film is most certainly uncompromising which was a MAJOR achievement given the social fabric at the time. James Earl Jones and Jane Alexander both deserved Oscars for their performances but that would have been like condoning their whole situation and god KNOWS Hollywood would NEVER have done that.....(sigh) Another example of not being able to see the forest for the trees.

Nonetheless, this is an eeeeeeeeeexcellent film and most worthy of your movie collection