L'homme du clan

I must confess a certain amount of guilt in enjoying this movie. It bumbles along at a shockingly easy-to-watch pace and stops well short of making any intelligent moral statement condeming racial prejudice (the dilema inherent in the Sheriff character was an exception). Normally the type to turn this kind of film off I found the way in which it used such serious themes as an excuse to unashamedly descend into an action thriller worryingly entertaining. At times you kind of got the feeling the screenplay writers had scripted a plot and strenuously tried to fit serious racial points around them. At times the violence became good guy/bad guy driven just like that in Dr. No, also directed by Young.

Perhaps this is the genius of the movie - making a profound statement as to the way cinema tends to illicit an emotive response from the viewing public by making entertainment out of serious issues. Somehow I think not.

Awful film altogether about racial tensions in a small southern town that bring the hooded KKK out to terrorize and harrass. There is no chemistry between sheriff Lee Marvin and simple landowner Richard Burton. I don't even know why Burton is in the story, let alone the film.

Mr. Mike's Couch Time Movie Review: I just watched a budget DVD version of this picture. All the curse words but not the "N" words were all edited out. This is easily the worst piece of film that Lee Marvin has ever been associated with. In fact, it's the worst piece of film HOKE HOWELL has ever been associated with! At least Howell can tell his grand-kids that Linda Evans played his wife in a movie....(Hello, get me casting....) The entire plot of the film is edited out of this version. Did they make a TV cut to capitalize on the mini-series Roots? Maybe that explains this. I can't believe that an airline movie print exists either of this monstrosity.

Lots of familiar faces for stereotyped celluloid of the Old South: Cameron Mitchell, David Huddleston (if you guessed the corrupt Mayor give yourself 5 points!), Howell. But some of the oddest casting ever: Richard Burton co-stars with Marvin, as a left-leaning liberal, peace-loving friend to all races (at least all the women of all the races.) Early on, he's in the sack with Luciana, the local policewoman. There's an implied relationship (this is 1974) with Lola Falana. And after (unbelievably) trying to persuade a hippie clergyman to seduce the recently raped Linda Evans (?), Burton has to dirty his hands with this one too. I mention Falana. She's very good in this movie. As is (drumroll) OJ Simpson, Simpson plays (in this version) just a guy whose fed up with the Klan. Maybe in the complete version, it's Simpson who turns out to be the undercover FBI agent, since Marvin, the Sheriff, repeatedly catches Simpson only to let him go. Who knows? Who cares. The soundtrack is not to be missed either (insert sarcasm here) Memorable scenes: the Klan funeral interrupted by sniper fire, a high-speed herse chase, and 2 car explosions. Then there's the comedic (?) fight scene between Mitchell and Richard Burton and Richard Burton's stand-in.

I just love bad film making. And this didn't disappoint. The Klansman gets 3 potatoes one for Richard Burton's stand-in, one for Richard Burton's on-again, off-again southern (?) accent, one for Richard Burton's on-again, off-again limp

The Klansman could be one of two things. It is either a brave exploration of racial hatred and violence in the US Deep South. Or, it is a reckless film which is trying to generate entertainment by exploiting racial tension. I don't agree with the majority of critics who say that this film is violent and trashy rubbish.... in my eyes, it poses enough interesting questions and pushes the audience out of their comfort zone sufficiently to be a worthwhile film. I wouldn't say that it's a great, misunderstood masterpiece, but it is definitely a film that needs reappraisal.

The story is set in Atoka County, Alabama, where race relations are balanced on a knife edge. The rape of a white woman by a negro triggers off a campaign of Ku Klux Klan violence, including the castration of a black youth, which in turn leads to retaliation by black extremists such as O.J. Simpson. Thrown into the struggles are Lee Marvin (the town sherriff who knows that racism is bad but tolerates it in order to cling to a degree of order) and Richard Burton (a landowner who sympathises with blacks, but is haunted by memories of what the Klan did to his grand father).

The film contains at least one unwatchable rape scene and some tasteless dialogue. It also suffers because Burton is so clearly miscast as a southern sympathiser (his accent is dodgy and he seems disinterested in the story). However, it takes a highly chraged theme and deals with it interestingly and provocatively. The violence jolts you out of your chair and forces you to think about the two sides of the argument. The climax is memorable and leaves you feeling empty and sick, especially at the waste of life caused by the single-minded, lethal actions of racist extremists.

A decent film, then, worth seeing for yourself. The critics got this one wrong. Give it a go.

A famous Hollywood story goes that sometime in the mid-to-late 70's, Richard Burton was at a party and got talking to Lee Marvin, whom he thought he had never met. Eventually Burton remarked that the two men should work together at some point, to which Marvin simply stated, "we have."

That Burton forgot making 'The Klansman' is unsurprising, considering his unintentionally hilarious and obviously intoxicated performance in the film. He stars as a liberal Southern landowner named Breck Stancill, who is brought into the local furore after a white girl makes allegations of assault against a black man. Marvin co-stars as the town Sherriff, Track Bascomb, who tries in vain to quell the uprising of racially motivated violence that ensues. Also, in his first credited role, OJ Simpson plays a vigilante who uses the situation to start a one-man revolt against the Ku Klux Klan.

An adaptation of the 1967 William Bradford Huie novel of the same name, the film had a troubled production history. Adaptation rights were first purchased that same year, but were then passed around for the next couple, with no projects ever getting off the ground. At one point Samuel Fuller was attached to write and direct, but that too never transpired. His screenplay was eventually rewritten by Millard Kaufman and Terence Young took over as director. Burton and Marvin were then brought in and proceeded to drink their way through the shooting process.

The finished film is a tonally confused, visually unexciting and oftentimes very funny concoction that doesn't have a lot going for it on paper. Huie's hard-hitting story about racial violence is diluted and obfuscated by camp moments like a fight scene where Burton drunkenly karate chops people, throwing many through doors. The dialogue sounds stilted and preacherly when it isn't hilariously over the top.

The movie is cheap looking, even for something billed as a work in the exploitation genre, looking like cinematographer Lloyd Ahern forgot to clean his camera lens before shooting began. As well as all that, many of the supporting actors have had their voices dubbed in post-production and it's not a subtle or decent piece of work (with the dubbing of Luciana Paluzzi being the most notably inept).

Which is not to mention Burton's performance at all. In every scene it is obvious he's four sheets to the wind and clearly has no interest in the material. Struggling with his Southern accent, he's like a poorly drawn, very funny caricature. Though reports say he was doing an equal amount of drinking, Marvin actually delivers a steady, interesting performance as the Sheriff, not once appearing intoxicated. There is much pleasure that can be drawn from watching Burton act in 'The Klansman', but none of it was intentional.

Having listed all those detractions, it may surprise you that 'The Klansman' is actually a very entertaining movie. There are moments where the themes and sequences from Huie's novel are treated with a measured hand, like the rape scene and some of the locals' ignorant conversations, as well as the finale. These are visceral, powerful and neatly directed by Young.

Burton and Marvin's characters are well drawn, with the Sherriff being one of surprising depth- again, thanks in large part to Marvin's performance. The OJ Simpson character is intriguing, even if his story is not fully explored, and the local racists- led by David Huddleston- have some great scenes that are genuinely affecting.

At the end of the day- whether they wanted it to be or not- the film is funny, and anything that makes you belly laugh in these dark times is a positive experience. 'The Klansman' is not a hard-hitting story about racial prejudice and violence in a small town, nor is it a good adaptation of William Bradford Huie's source material. It has dark elements that are well realized for the screen, and are quite difficult to watch- brutal racism is never palatable- but, overall, it's a joyride piloted by a drunken Welshman that's very entertaining.