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Mississippi Burning movie of Alan Parker with Willem Dafoe – critic

Mississippi Burning movie

Great public and critical success for this film by Alan Parker, which chronicles a sordid news item that took place in the southern United States in the 1960s, implicating members of the infamous Ku Klux Klan in the murders of civil rights activists. This is our critic of Mississippi Burning movie.

Mississippi Burning movie critic

As usual, the filmmaker does not go with the back of a spoon to support his point, more than once bordering on a certain Manichaeism and not avoiding a few facilities. Fortunately, its few flaws do not tarnish too much a feature film benefiting from a strong enough subject to compensate for its flaws.

Throughout his film, Alan Parker manages to create a heavy atmosphere, to restore the humidity of the south and above all, the feeling of insecurity and the tension that reigned at the time, as if all these characters were sitting on a barrel of powder ready to explode at any time. The meticulous staging of the director, coupled with the suffocating score of Trevor Jones, thus give rise to a veritable nauseating and suffocating atmosphere.

More than the plot, ultimately without much surprise, it is above all the exchanges between the two main protagonists that make the success of Mississippi Burning movie and allow spectators to think about such a complex problem. Although aiming for the same objectives, working for the same cause and the same ideals, the agents superbly embodied by Gene Hackman and Willem Dafoe do not have the same experience, the same methods, and therefore an opposite vision in many ways. This allows a balance, a certain distance, where the supporting roles, yet played by an impeccable cast, look a little too much like walking clichés.

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A venerable manifesto against human bullshit, Mississippi Burning movie is singularly lacking in subtlety but at least has the merit of existing and opening up debate, especially at a time like ours when prejudice and racism are making a comeback, furthermore avoiding scholarly and self-righteous aspect into which the genre has since fallen.

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