“Three Wrongful Deaths”: One Wrongful Portrayal?

By Katherine Prosswimmer

[1] Mississippi Burning, written by Chris Gerolmo and directed by Alan Parker, was lauded for the memorable performances given by Gene Hackman and Willem Dafoe and was critically acclaimed enough to receive an Oscar nomination. At the same time, Mississippi Burning came in for major critical backlash, mostly because of Parker and Gerolmo’s portrayal of African-Americans. In the words of Harvard Sitkoff, “Rather than even alluding to the pivotal role played by blacks in the struggle for desegregation and enfranchisement, Parker presents them as sheep-like, unable to act.” Gerolmo and Parker suffered widespread censure of their diminishment of black agency during the fight for civil rights. Many scenes from the movie have been scrutinized for this transgression, but one scene seems to be the most iconic.

[2] Critics focused their censure on “Three Wrongful Deaths,” the scene in which the three civil rights workers were murdered. Robert Toplin pinpoints the problem with the scene: “Critics especially pointed to the example of the chase scene in the opening moments of the movie. Mississippi Burning shows Michael Schwerner driving the car containing the civil rights workers, while James Chaney, the black, sits in the back seat. Actually Chaney drove the car, said the critics. Furthermore, Chaney was not just a passive black youngster who looked to the whites to give direction to the fight for justice, as he appears in the film. Chaney was a dedicated civil rights campaigner and full-time organizer for the Congress of Racial Equality (CORE).” Similarly, Sitkoff says, “Symptomatically, and symbolically, [Parker] even places Chaney, a Mississippi black working for the Congress of Racial Equality (CORE), and the actual driver of the station wagon that was stopped by the Klan, in the backseat, and the white Schwerner in the driver's seat.” Parker and Gerolmo’s decision to alter the historical account of the murders was a major move, not only because of its implications for the role of African-Americans in the film but also because this scene was the premise for the entire movie. With that in mind, it seems unlikely that Parker and Gerolmo arbitrarily decided to switch what person was driving. It is undeniable that confining the character of Chaney to the backseat is symbolic of the role of African-Americans taking a backseat to the whites in Mississippi Burning. However, I believe that the decision to put Schwerner in the position of driver helps set up some of the major themes of Mississippi Burning.

[3] The primary theme introduced through this scene becomes evident in the conversation that occurs between Schwerner and the Klan members directly preceding the murders:

Schwerner: You had us scared to death, man.
Klansman1: Don't you call me man, Jew-boy.
Schwerner: No sir, what should I call you?
Klansman1: Don't call me nothin' nigger-lovin' Jew-boy, you just listen.
Schwerner: Yessir.
Klansman2: Hell, you're even starting to smell like a nigger, Jew-boy.

Through this exchange, it becomes clear that the attackers, who are not known to be Klan members at this point, are discriminatory towards a group of people that extends beyond African-Americans. Using “Jew-boy” in connection with “nigger-lovin” reveals the Klan as discriminatory towards Jews as well. Being a “nigger lover” is the ultimate insult by racists, so by combining “Jew-boy” with this epithet, it is revealed that being a Jew is considered to be negative. If Chaney’s character were put in the front seat, viewers would expect the attackers to demonstrate racism and discrimination. By putting the white Schwerner in the position in which he has to communicate with the attackers, Parker and Gerolmo are able to demonstrate the, ironically, indiscriminate discrimination practiced by the Klan. This is a theme that becomes very prevalent through the rest of the film; Ward and Anderson’s hotel room is vandalized even though they are white, and Clayton Townley delivers a speech to the media denouncing Jews, Papists, and African-Americans, and announcing the town members’ desire to uphold the true Aryan race.

[4] The second major theme of Mississippi Burning introduced in this scene is the abuse of authority. Goodman, Schwerner, and Chaney are all seriously unnerved by the behavior of the cars following them. They are on a deserted road in the middle of the night with three cars aggressively following them. The three boys anxiously debate what to do, wondering if the first car following them is a police car. Schwerner tries to wave the car on to pass them. The car continues to follow them, smashing into their rear bumper, in fact, and their fear escalates to the point at which Schwerner desperately suddenly pulls off onto a small side road. The cars continue to follow them, and Schwerner speeds onward. When one of the cars puts on its flashing lights, Schwerner identifies it as a police car and decides to pull over. Within a matter of minutes, the three boys have been shot to death. Despite all their instincts that tell them they’re in danger, the symbol of authority overpowers their judgment to flee. The murders introduce the abuse of authority as a major theme. The Klan members are able to practice unmitigated racism and bigotry through the pretense of lawful authority.

[5] While the decision to put Chaney in the backseat instead of the dominant driver role that he actually played during the real event does seem to downplay his role and significance in the movie, his character still retains major significance. It is hard to look past Chaney’s character’s placement, especially since the same effect discussed above could have been achieved with Chaney in the passenger’s seat rather than in the back of the car. However, Parker and Gerolmo assign him a crucial piece of dialogue. After the car following the civil rights workers begins to rear-end them, Schwerner says, “What the fuck are these jokers playing at?” Chaney looks straight ahead of him and solemnly says, “They ain't playin', you'd better believe it.” It is at this moment that the audience begins to realize the true danger the three boys face. It is clear through this small piece of dialogue that Chaney is the only one who appreciates the severity of the situation. While Schwerner and Goodman are endangering their lives to help promote equality and may even have suffered discrimination, it is probable that, as an African-American, Chaney was subjected to a level of criticism neither of the two white boys had ever experienced. The solemnity of Chaney’s tone implies that he alone knows the possibilities of what could happen if the aggressors catch them. The symbolism of his character’s positioning may have negative connotations for the film’s portrayal of the African-American role in the civil rights movement, but it does work to convey the far-reaching, deep-seated suffering their race was forced to endure.

[6] While Chaney’s placement in this scene certainly sets the stage for the much criticized passive portrayal of African-Americans in Mississippi Burning, Parker and Gerolmo’s decision to place Schwerner as the driver allowed the viewer to gain a greater understanding of the major themes of the movie. Parker and Gerolmo’s choice may not have been the most popular choice, but it did have its benefits.