Obviously made in the wake of In the Heat of the Night's financial and awards success, William Wyler's final film, The Liberation of L. B. Jones, based on the novel The Liberation of Lord Byron Jones by Jesse Hill Ford (who wrote the first draft of the screenplay, later taken over by Stirling Silliphant), is another look at racist institutions in the South in the days of Jim Crow. I think, despite Norman Jewison's earlier film's successes, that Wyler left the filmmaking world on a relative high note, succeeding more fully artistically while bearing its own set of small flaws that keep it down.
The titular character, Lord Byron Jones (Roscoe Lee Browne) is the respected black undertaker in the small Tennessee town of Somerton. He is married to a young woman, Emma (Lola Falana) who has taken up an affair with one of the white police officers, Willie Joe (Anthony Zerbe), in secret enough for Willie Joe to keep the knowledge from his own wife and children (whom we never see, which I think is something of an odd choice, but I'll get to that) but not secret enough that she isn't afraid of flaunting it around the Jones house in her own room. Jones wants a divorce, and he goes to the office of Oman Hedgepath (Lee J. Cobb) to hire him in what he says will be an uncontested divorce. Only through Hedgepath's new law partner, his nephew Steve (Lee Majors), does Hedgepath decide to take the case, which quickly turns complicated when Emma decides to contest the divorce for her own reasons.
The film is an exploration of the unspoken ways that things get done in a system where the law cannot be followed in order to preserve certain customs and power centers. Willie Joe is a white man in a segregated town, and Cobb feels more for Willie Joe and the potential collapse of his life, both professional and personal, than for the cuckolded L. B. Jones of another race. So, he tells Willie Joe to convince Emma to drop the suit, implying that the only way to get out of this is to prevent the divorce from happening. Willie Joe is a not terribly bright young man who has a tendency to take advantage of his position of power to get whatever it is he wants, and he's just the kind of person who would take things too far.
My central issue with the film is Willie Joe himself. He's viciously evil in a way that leaves no room for interpretation. Part of that presentation is, I think, the complete lack of presence by his family, but it's heightened by one scene that stands out. A young black man has been taken in on a small charge, and his wife approaches him in his squad car, begging for help to get him out so he can go back to work the next day. He, along with his squad car partner, take her out into the country where Willie Joe rapes the girl. I mean, we've already seen Willie Joe slap around Emma violently when she won't do what he says, did the portrayal need to go this far? That, combined with the absence of his family makes Willie Joe really one-note in a way that smooths out any potential wrinkles. This feels like an effort on the part of Wyler and his screenwriters (the book was apparently based on some real life events in Ford's hometown, and they were not happy with him for the portrayals) probably took the character of Willie Joe in particular as an obvious signal to the audience that they were "on the right side of history" or something. It makes the drama less compelling by making the point more obvious.
Thankfully, though, the central dramatic fulcrum is not Willie Joe. It's this intricate balance between Jones himself, Hedgepath and his nephew, and a more minor character, Sonny (Yaphet Kotto). He actually begins the film by jumping off the train passing through Somerset with a pistol in a cigar box, filtering through the movie in the background and interacting with Jones in some small ways. He's a native of Somerset who fled fifteen years prior because a white cop had beaten him terribly, returned to exact vengeance. There's a mirror aspect between Sonny's decision to let his anger go because violence won't fix the problem in his soul. However, that view gets revisited when Willie Joe decides that the only way out of his problem is to take Hedgepath's suggestion to its twisted conclusion by getting what he wants no matter what.
The ending is a tragedy because it's about lost opportunities to make things better. All of the "law" that gets followed is unspoken and in direct contradiction to actual law, which is why it needs to be handled through suggestion and hushed conversations behind closed doors. Everyone knows this, most particularly Hedgepath who ends up just perpetuating the worst of the unspoken system, solving nothing but preserving a broken, unjust, and hidden system that's always in the open.
Really, the portrayal of Willie Joe is my only real issue with the film. This final film by the Golden Age of Hollywood master Wyler is just about everything I would expect from one last gasp of such a filmmaker in the changing era of the late 60s and early 70s. His precise visual style is still there, but it's muddled a bit by emerging conventions influenced by television while also falling prey to decreased budgetary wiggle room where he could only do his extended, complex takes in very enclosed environments. A more nuanced approach to the central antagonist (I wouldn't expect anything like finding out he's a great family man, but making him so thoroughly a monster without question is just too far) would have really helped take this from a solidly good film into, perhaps, something great.
Still, this is a good film for Wyler to go out on. It showed that despite the industry leaving him behind, he could have continued on in the newer system, bringing his consummate craft to newer stories with newer stars. That the film completely bombed at the box office while meeting with tepid critical notices though, was the final nail in the coffin of the man who hadn't had a real hit since Ben-Hur and was rarely a big box office crafter to begin with.
The titular character, Lord Byron Jones (Roscoe Lee Browne) is the respected black undertaker in the small Tennessee town of Somerton. He is married to a young woman, Emma (Lola Falana) who has taken up an affair with one of the white police officers, Willie Joe (Anthony Zerbe), in secret enough for Willie Joe to keep the knowledge from his own wife and children (whom we never see, which I think is something of an odd choice, but I'll get to that) but not secret enough that she isn't afraid of flaunting it around the Jones house in her own room. Jones wants a divorce, and he goes to the office of Oman Hedgepath (Lee J. Cobb) to hire him in what he says will be an uncontested divorce. Only through Hedgepath's new law partner, his nephew Steve (Lee Majors), does Hedgepath decide to take the case, which quickly turns complicated when Emma decides to contest the divorce for her own reasons.
The film is an exploration of the unspoken ways that things get done in a system where the law cannot be followed in order to preserve certain customs and power centers. Willie Joe is a white man in a segregated town, and Cobb feels more for Willie Joe and the potential collapse of his life, both professional and personal, than for the cuckolded L. B. Jones of another race. So, he tells Willie Joe to convince Emma to drop the suit, implying that the only way to get out of this is to prevent the divorce from happening. Willie Joe is a not terribly bright young man who has a tendency to take advantage of his position of power to get whatever it is he wants, and he's just the kind of person who would take things too far.
My central issue with the film is Willie Joe himself. He's viciously evil in a way that leaves no room for interpretation. Part of that presentation is, I think, the complete lack of presence by his family, but it's heightened by one scene that stands out. A young black man has been taken in on a small charge, and his wife approaches him in his squad car, begging for help to get him out so he can go back to work the next day. He, along with his squad car partner, take her out into the country where Willie Joe rapes the girl. I mean, we've already seen Willie Joe slap around Emma violently when she won't do what he says, did the portrayal need to go this far? That, combined with the absence of his family makes Willie Joe really one-note in a way that smooths out any potential wrinkles. This feels like an effort on the part of Wyler and his screenwriters (the book was apparently based on some real life events in Ford's hometown, and they were not happy with him for the portrayals) probably took the character of Willie Joe in particular as an obvious signal to the audience that they were "on the right side of history" or something. It makes the drama less compelling by making the point more obvious.
Thankfully, though, the central dramatic fulcrum is not Willie Joe. It's this intricate balance between Jones himself, Hedgepath and his nephew, and a more minor character, Sonny (Yaphet Kotto). He actually begins the film by jumping off the train passing through Somerset with a pistol in a cigar box, filtering through the movie in the background and interacting with Jones in some small ways. He's a native of Somerset who fled fifteen years prior because a white cop had beaten him terribly, returned to exact vengeance. There's a mirror aspect between Sonny's decision to let his anger go because violence won't fix the problem in his soul. However, that view gets revisited when Willie Joe decides that the only way out of his problem is to take Hedgepath's suggestion to its twisted conclusion by getting what he wants no matter what.
The ending is a tragedy because it's about lost opportunities to make things better. All of the "law" that gets followed is unspoken and in direct contradiction to actual law, which is why it needs to be handled through suggestion and hushed conversations behind closed doors. Everyone knows this, most particularly Hedgepath who ends up just perpetuating the worst of the unspoken system, solving nothing but preserving a broken, unjust, and hidden system that's always in the open.
Really, the portrayal of Willie Joe is my only real issue with the film. This final film by the Golden Age of Hollywood master Wyler is just about everything I would expect from one last gasp of such a filmmaker in the changing era of the late 60s and early 70s. His precise visual style is still there, but it's muddled a bit by emerging conventions influenced by television while also falling prey to decreased budgetary wiggle room where he could only do his extended, complex takes in very enclosed environments. A more nuanced approach to the central antagonist (I wouldn't expect anything like finding out he's a great family man, but making him so thoroughly a monster without question is just too far) would have really helped take this from a solidly good film into, perhaps, something great.
Still, this is a good film for Wyler to go out on. It showed that despite the industry leaving him behind, he could have continued on in the newer system, bringing his consummate craft to newer stories with newer stars. That the film completely bombed at the box office while meeting with tepid critical notices though, was the final nail in the coffin of the man who hadn't had a real hit since Ben-Hur and was rarely a big box office crafter to begin with.