A Libertação de L. B. Jones

"The Liberation of L. B. Jones" is a feel-bad movie that is worth seeing...provided you aren't already seriously depressed. If you are, try watching something fun, as "The Liberation" is where fun goes to die!

The story is set in Tennessee and racism in this county is rampant. You will probably never find a movie that uses the 'n' word more...which I appreciate because it just shows how ugly racism is. The cops are evil perverters of women and justice and the place is NOT a place any black person would enjoy visiting...as they certainly would not have been welcome.

L. B. Jones happens to be the richest black man in the county and he is having problems with his wife. She's carrying on an affair with one of the cops and he's sick of it and wants a divorce. He seeks the help of a local lawyer (Lee J. Cobb) who at first refuses to take the case. But when his idealistic son-in-law shames him into taking it, he agrees...and spends much of the rest of the film perpetrating evil along with the local police department. What exactly did they do? See the film...but it certainly ain't nice!

The film came out after quite a few other race films had debuted and just before the big blacksploitation craze...so the timing was excellent. The film is brutal in the way it shows racism, as it's unflinching and will make you sick as you watch. This is a good thing...but a painful thing to see and hear. Well worth your time.

Sometimes I have to scratch my head and wonder why the hell a film isn't more acclaimed and/or remembered. William Wyler's last film The Liberation of L.B. Jones (1970) is one of these. A nail biting inferno of racial hate and discomfort.

Don't read the tagline and stay away from certain posters, it might spoil it! But even though I knew part of the outcome parts of this film stopped me from breathing, and I'm still filled with this heavy indescribable feeling.

It's essentially the tale of when the people discriminated against stops being afraid. It's also an exploration of the small towns of a bygone age, and their despicable sentiments.

The Liberation of L.B. Jones would fit perfectly in the company of films in In the Heat of the Night. Perhaps it was just a tad late, or perhaps it was a bit too bleak, but this is surely a film I will remember. A wonderful way to go out for the legendary Mr. Wyler. One of the best directors who ever lived! 8.5/10

I've read the book liberties & omissions were taken, overall this movie is a true gem no sugar coating here I recommend you watch it & read the book you'll come full circle I guarantee it. I would also add a remake of this wouldn't hurt just too put more flesh on the characters & script it.

It is appropriate that the title character is an undertaker for this final film from William Wyler feels like a mass funeral for all hopes of racial reconciliation in the America of 1970, (not that it's gotten any easier now). The last shot of the two white liberals and the lone black radical sitting on opposite sides of the train as it flees the benighted region of bigotry and violence says it all. You certainly do not expect that these thee will come together once the train passes from Kentucky to Ohio! A powerful, somber image to end a powerful, somber film. Somber but not dull. Sure the proceedings can get lurid at times, even semi trashy. But I prefer this to the heavy handed, messagey treatment Hollywood has often employed when dealing with black/white conflict. (See the ouevre of Stanley Kramer and his students). Indeed, had the screenplay, by Stirling Silliphant (revisiting racial bleakness after "In The Heat Of The Night") and Jesse Hill Ford (the novelist upon whose work the film is based and himself a tragic figure), been better, with a fuller examination of the white liberals' characters and their relationship with the white patrician lawyer, wonderfully played by Lee J Cobb, then this film would have approached greatness, in my opinion. As it is let us give it a B for a solid end to one of Hollywood's most distinguished directorial runs, as well as the performances of Cobb, Anthony Zerbe and Arch Johnson, playing two of the more despicable redneck cops you'll ever see, a young and intense Yaphet Kotto and, above all, Roscoe Lee Browne as defiant, unbending LB Jones. Haven't seen enough of this fine actor's work to say whether it's his best but it has to rank fairly high, one would think.

PS...I regularly excoriate TCM on its programming choices (like devoting an entire day to the work of Arlene Dahl or repeatedly showing "Wait Until Dark" and "Alice In Movieland") but I have to congratulate whoever came up with last month's spotlight on final films from great directors. A total blast. At the very least, (as in "Ambush"), interesting and at best, (as in "Madadayo"), eye opening.

This is a sad film about personal weaknesses. The storyline has several weak points too, but on the whole I should think the movie does a great director like William Wyler justice and is still watchable today. There is a certain similarity with the Oscar winning In the Heat of the Night. The screenplay is by the same author, Stirling Silliphant.

The Liberation of L. B. Jones really belongs to the African American cast, the whites' performances do pale in comparison. Roscoe Lee Browne plays the well-to-do undertaker who is cheated by his wife with a white policeman. He gives his character a quiet dignity that lasts throughout the story, up to the bitter and sad end. Yaphet Kotto's portrayal of an angry young man who comes to town with a score to settle is equally intense and convincing. Both Browne and Kotto have a few very good scenes in which they act by themselves. They both seize the chance to give their characters real depth. Lola Falana is convincing as the amoral undertaker's wife and there is a good supporting cast. I fondly remember a small, well acted scene at the beginning with an elderly lady who regularly visits the undertaker's show room to have a look at the coffin for which she pays instalments.

The white population is, it seems to me, much more stereotypical. The only really interesting figure here is the town's most important lawyer, played somewhat stiffly by Lee J. Cobb. He is a racist against his better judgment. His unlawful actions to protect white criminals seem like a reflex, not coming from the brain but rather from the spinal cord.