The Great White Hope

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.

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

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.

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.

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.