Starring
Lee Marvin, Richard Burton, Cameron Mitchell, O.J. Simpson, Lola
Falana, David Huddleston, Linda Evans, Luciana Paluzzi. Directed by
Terence Young. (1974, 112 min).
OLIVE
FILMS
In
order to appreciate some older films, it helps to keep-in-mind the
era in which they were made. Of course a film like Gone
with the Wind is going to appear racist and sexist to millennials
looking for reasons to be offended. 1939 was a different era, and
since we can't go back in time to set those backwards primates
straight, we can still appreciate the film for its timeless
narrative, iconic characters and visual splendor.
Then
there are bottom feeders like 1974's The Klansman, which would
be repugnant in any decade. Were not for the fact that it's
narratively and technically inept, one could be really insulted
by the film's attempt to wrap racially-charged, exploitative sleaze
in a shroud of social awareness and self-importance. Like the equally
reprehensible Mandingo, it's just a notch or two above a
grindhouse film, only with a fairly respected director and two
legendary actors apparently committed to tarnishing their legacies.
That's one likely reason it has become a minor cult classic over the
years.
Burton & co-star. |
Another
reason is the well-documented turmoil behind the film. Lee Marvin and
Richard Burton spent most of the shoot in a drunken stupor. I suppose
it's a credit to Marvin's inherent talent that it doesn't really
show. As a small-town southern sheriff trying to keep the peace while
racial tensions develop between the black community and the local Ku
Klux Klan (after the rape of a white woman), he gives the film's
best performance by simply being the badass Lee Marvin we're
accustomed to. Burton, however, must be seen to be believed. As a
liberal landowner sympathetic to the black movement's cause, his
southern accept comes and goes from scene to scene. There are ample moments when he is obviously shitfaced and barely able to get
through a scene, sometimes unintelligibly slurring his lines.
O.J. Simpson...in the backseat of an SUV...with a gun. Where have we seen this before? |
The
awful dialogue would actually be funny it weren't loaded with an overabundance of
nasty racial slurs and epithets. Some such language is obviously necessary, but the film wallows in the depravity of
the Klan's words & actions to an almost voyeuristic level, long after the
viewer has gotten the point. This is best (or worst) exemplified by
what might be the most prolonged and disturbing rape scene of any
film released in the 70s. But that's not to say there aren't some
laughs to be had; Burton's slap-fight with Cameron Mitchell is
unintentional comedy gold, as is an early scene where two cars burst
into flames after a mere fender-bender.
The
Klansman is unquestionably bad, but there's an overall
trainwreck quality to this film that renders it
morbidly fascinating. Connoisseurs of 70's-era sleaze or
Hollywood-gone-wrong might be pleased, especially since it's being
released uncut on Blu-Ray for the first time. For everyone else,
don't say you weren't warned.
EXTRA
KIBBLES:
None
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