Roots (1977)

TV Mini-Series  |   |  Drama, History, War
8.6
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A dramatization of author Alex Haley's family line from ancestor Kunta Kinte's enslavement to his descendants' liberation.

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Title: Roots (1977– )

Roots (1977– ) on IMDb 8.6/10

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1  
1977  
Won 1 Golden Globe. Another 15 wins & 35 nominations. See more awards »

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Cast

Series cast summary:
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 Mathilda (6 episodes, 1977)
...
 Dr. William Reynolds (5 episodes, 1977)
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 'Toby' / ... (5 episodes, 1977)
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 Bell Reynolds (5 episodes, 1977)
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 'Chicken' George Moore (5 episodes, 1977)
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 Fiddler (5 episodes, 1977)
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 Ames (5 episodes, 1977)
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 Kunta Kinte / ... (4 episodes, 1977)
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 Mrs. Reynolds (4 episodes, 1977)
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 Kizzy Reynolds (4 episodes, 1977)
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 Mrs. Moore (4 episodes, 1977)
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 Missy Anne Reynolds (4 episodes, 1977)
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 Tom Moore (4 episodes, 1977)
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 Capt. Thomas Davies (3 episodes, 1977)
Ji-Tu Cumbuka ...
 Wrestler (3 episodes, 1977)
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 Slater (3 episodes, 1977)
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 John Reynolds (3 episodes, 1977)
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 Harlan (3 episodes, 1977)
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 Mingo (3 episodes, 1977)
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 Stephen Bennett (3 episodes, 1977)
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 Sam Bennett (3 episodes, 1977)
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 Evan Brent (3 episodes, 1977)
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 Tom Harvey (3 episodes, 1977)
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 Ol' George Johnson (3 episodes, 1977)
Hilly Hicks ...
 Lewis (3 episodes, 1977)
Lynne Moody ...
 Irene Harvey (3 episodes, 1977)
Lane Binkley ...
 Martha Johnson (3 episodes, 1977)
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 Virgil (3 episodes, 1977)
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 Nyo Boto / ... (2 episodes, 1977)
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 Kintango (2 episodes, 1977)
Thalmus Rasulala ...
 Omoro (2 episodes, 1977)
Hari Rhodes ...
 Brima Cesay (2 episodes, 1977)
William Watson ...
 Gardner (2 episodes, 1977)
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 Fanta (2 episodes, 1977)
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 John Carrington (2 episodes, 1977)
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 Grill (2 episodes, 1977)
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 Trumbull (2 episodes, 1977)
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 Fanta (2 episodes, 1977)
Tanya Boyd ...
 Genelva (2 episodes, 1977)
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 Noah (2 episodes, 1977)
Raymond St. Jacques ...
 The Drummer (2 episodes, 1977)
Stan Haze ...
 Field Singer / ... (2 episodes, 1977)
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 Ordell (2 episodes, 1977)
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 Melissa (2 episodes, 1977)
Elma V. Jackson ...
 Mama Ada (2 episodes, 1977)
Lillian Randolph ...
 Sister Sara (2 episodes, 1977)
Davis Roberts ...
 Leonard (2 episodes, 1977)
Richard McKenzie ...
 Sam Harvey (2 episodes, 1977)
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 Binta (2 episodes, 1977)
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 Aurelia (2 episodes, 1977)
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 Sheriff Biggs (2 episodes, 1977)
Ernest Thomas ...
 Kailuba (2 episodes, 1977)
Ann Weldon ...
 Mary (2 episodes, 1977)
Rebecca Bess ...
 Girl on Ship (2 episodes, 1977)
Fred Covington ...
 Auctioneer (2 episodes, 1977)
Hank Rolike ...
 John (2 episodes, 1977)
Pat Corley ...
 Referee (2 episodes, 1977)
Joe Dorsey ...
 Calvert (2 episodes, 1977)
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 Man at Cockfight / ... (2 episodes, 1977)
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 Slaver (2 episodes, 1977)
Rachel Longaker ...
 Caroline (2 episodes, 1977)
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 Jemmy Brent / ... (2 episodes, 1977)
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 Slave Catcher (2 episodes, 1977)
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 Young Missy Reynolds (2 episodes, 1977)
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Storyline

A saga of African-American life, based on Alex Haley's family history. Kunta Kinte is abducted from his African village, sold into slavery, and taken to America. He makes several escape attempts until he is finally caught and maimed. He marries Bell, his plantation's cook, and they have a daughter, Kizzy, who is eventually sold away from them. Kizzy has a son by her new master, and the boy grows up to become Chicken George, a legendary cock fighter who leads his family into freedom. Throughout the series, the family observes notable events in U.S. history, such as the Revolutionary and Civil Wars, slave uprisings, and emancipation. Written by Eric Sorensen <Eric_Sorensen@fc.mcps.k12.md.us>

Plot Summary | Add Synopsis

Genres:

Drama | History | War

Certificate:

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Details

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Release Date:

23 January 1977 (USA)  »

Also Known As:

Raíces  »

Filming Locations:

 »

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Technical Specs

Runtime:

(10 episodes)

Sound Mix:

Color:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

The people playing Kizzy, George, and Tom Harvey were born within three years of each other. Leslie Uggams and Georg Stanford Brown who played Kizzy and Tom were both born in 1943 and Ben Vereen who played George was born in 1946. This means that "Tom" was actually three years older than his "father" and "Kizzy" was three years older than her "son." See more »

Goofs

Much of the topography and flora throughout the series is simply wrong for the areas in which it was set. This is especially true for the Reynolds plantation, located in Spotsylvania County, Virginia, which is shown to be mountainous with a lot of plants native to arid areas (e.g. Southern California). Spotsylvania is neither. See more »

Quotes

John Carrington: Uh, did you have a good voyage, Captain?
Captain Thomas Davies: My First Officer is dead, ten seaman and the ship's boy... more than a third of my crew.
See more »

Connections

Referenced in Diary of a Mad Black Woman (2005) See more »

Soundtracks

Oluwa
by Quincy Jones
See more »

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User Reviews

 
The Best TV Miniseries Ever Offered by a Major Commercial Network Before Cable
16 July 2007 | by (Oakland, CA) – See all my reviews

Two of the most important American television programs are "The Civil War" by Ken Burns (1989), and the epic narrative miniseries "Roots" (1977) based on the book "Roots: The Saga of an American Family" by Alex Haley. Despite the controversy surrounding the book, and the facts of Haley's ancestry (for example, the slave Toby aka "Kunte Kinte", may never have fathered Kizzy and therefore may not be a direct ancestor of Haley) the series is an important and ground-breaking work in its stunning portrayal of slave life in America from the late 18th century to the mid-19th century.

For decades, the United States has been largely in denial of its treatment of African-Americans both as slaves and later in post-Civil War periods. The south of the 19th century had fabricated the reality of slave conditions and down-played the brutality inflicted on both slaves and anti-slave sympathizers. Racial hatred and brutality continued into the 20th century, largely fueled by white traditions that have (and continue to) concoct misrepresentations of historical reality to younger generations. By the middle of the 20th century, nearly 100 years after the end of the American Civil War, President Johnson signed Civil Rights legislation into law with the White Southern community kicking and screaming all the way. If legislation couldn't change people's hearts and minds, what could?

Americans love movies, story-telling/narrative film depictions of reality. There had never before been a nationally distributed film production that honestly told the story of the African-American slave experience. Fourteen years after Johnson's legislation, "Roots" was broadcast on national television by the American Broadcasting Company (ABC). I regard those network executives that green-lighted the broadcast in great esteem for their willingness to take a chance on this most-important series. I doubt whether US commercial television will ever produce and broadcast such a high-caliber and controversial program again in the near future. And to give credit to the American viewing public, "Roots" was a huge success.

From beginning to end, "Roots" is an absolute triumph of film production, the best-ever miniseries offered by a corporate network prior to the rise of cable television. The acting and the script are top-notch. Almost every notable African-American acting talent of the time was solicited to join the cast, from LeVar Burton and John Amos (Kunte Kinte, Toby) to Lou Gosset Jr (Fiddler) to Ben Vareen (Chicken George) to James Earl Jones (Alex Haley). Even OJ Simpson makes an appearance. A lot of notable white talent appears as well, such as Ed Asner and Sandy Duncan.

Slavery is a tragedy and "Roots" is a tragic story. "Roots" has its light moments, its inspiring moments, although it is its heartbreaking moments that stay with you: The moment the young African Kunte Kinte is shackled, sold as chattel and forced to board the slave ship bound for America. The whipping of the young Kunte Kinte to "break" him into slavery. The selling of Kizzy, Toby's daughter, to another slave master because of her involvement with a scheme to help a runaway. These are the moments that make Roots' larger point. Another aspect that makes Roots effective in its rhetoric is that it never seeps into sentimentality to makes its point. The story relies on an honest narrative and the audience is left to draw their on conclusions. Is it brutal? Yes. Unjust? Definitely. And that is what it was. (If you don't believe "Roots", sell yourself into slavery and see how you like it.)

Two aspects occur to me about what this story means beyond just the plain inhumanity of the institution of slavery. One aspect is that the benefit of slavery is terribly minute when compared to the staggering price paid by the slaves themselves and everyone else. Simultaneously, non-slaves were pressed into service to maintain slavery as an institution. Such titanic sadness, misery, hopelessness brutality, and inhumanity is forced upon people (both slave and non-slave) in return for a more comfortable life for a minuscule segment of the population. And yet the amount of work, effort, and money to maintain the inhumane infrastructure seems more burdensome than if these people were free. The average white southerner could not afford to own slaves, and many worked for slave owners as overseers, slave-catchers, auctioneers, and other positions designed to maintain the institution. In short, misery for thousands with a little comfort for a few.

The other tragedy is the denial of positive contribution to society. Those who were slaves were denied giving their love, their knowledge, their inspiration, and their culture to society. All this beauty sacrificed so a few white aristocrats can laze around on sofas in front of fireplaces in giant mansions. Someone once said that if we don't help foster the gifts in other people, we run the risk of never seeing how our world could be made better. Slavery is a tragedy for the people enacting it as well, although the suffering aspect is less apparent.

"Roots" is a story that needs to be told and retold. Shown and re-shown. I would encourage any teacher trying to convey the reality of slavery in America to consider showing at least a segment or two of "Roots". There is no question that the film is mesmerizing. It saddens me that there are still those in America that want to hang onto southern myths that propagate that slavery wasn't that bad. These are some of the same people that are convinced the holocaust is a fabrication. It is better to forgive than the forget. We have to embrace our roots.


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