In 1750, in Gambia, West Africa, Kunta Kinte, son of Omoro and Binta, distinguishes himself among his tribesmen in manhood training rituals. But he does not enjoy his new status long: slave traders ...
In 1776, John Reynolds sells the now adult Kunta Kinte to his brother William. Kunta tries to escape again, this time with dire consequences. He also meets his match in Belle Reynolds, the slave who ...
In December 1775, Kunta Kinte and Fiddler accompany their owner to another plantation at Christmas time and they learn that the son of the owner helps slaves escape, and the two of them try... See full summary »
Louis Gossett Jr.,
A plantation owner's son falls in love with a slave named Easter and together they have a Mixed race daughter named Queen. As Queen grows up, she faces the struggle of trying to fit into ... See full summary »
This is the sequel to the mini-series, RICH MAN, POOR MAN. It begins with Rudy Jordache apprehending the man who killed his brother, Falconetti. He then also takes in his nephew, Wesley. He... See full summary »
James Carroll Jordan
In the arid 1920s Australian Outback, a Catholic priest and the beautiful granddaughter of a vast sheep station owner stand powerless before God's will, tormented by desire. How far are they willing to go in the name of love?
J.R. Ewing, a Texas oil baron, uses manipulation and blackmail to achieve his ambitions, both business and personal. He often comes into conflict with his brother Bobby, his arch-enemy Cliff Barnes and his long-suffering wife Sue Ellen.
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. He's 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>
Sandy Duncan did not realize how villainous Missy Anne Reynolds turned out to be when she first read for the part. She later told castmate Leslie Uggams if she had known that she would never have taken the part in the first place. See more »
Kizzy, a slave who works in the fields, has long, beautifully manicured fingernails. See more »
I'm a Mandinka warrior!
[turns to stable horse]
Horse! I hear tell that you ain't a horse at all. I hear tell that you think you a mighty crow! I hear tell that you fly from here 'bouts all the way to Annapolis and back again. Now horse... you look mighty like a horse to me. And you sure SMELLS mighty like a horse. So I'm saying to you, that you... is... a horse! What you think you is don't matter a damn bit.
See more »
Several scenes were cut for DVD when the eight episodes were combined into six. Among the deletions: A five minute opening sequence of George Hamilton riding through the countryside on a carriage before he reaches the Moore plantation and several scenes featuring slaves working in the fields as Chicken George returns home from England. The dvd also deletes the opening screen credits for these sequences. The DVD does contain a short sequence at the start of Episode 5, featuring Chicken George and Tom Moore before a cockfight, not seen originally. The DVD also features different closing credits than the original broadcast. See more »
I normally don't start out this way, but I feel it matters. I am a Southern White, and I have not seen this movie up until the other night.
I thought this mini-series was one of the top three or four I have ever seen. Throughout the years since this came out, I never really bothered, thinking it would be simply white bashing. It was not. I felt it might be in contradiction with the kind people and relatives I grew up knowing. It was not.
I feel that this mini-series realistically blends black history in with the history we have been fed from the Northern side as well as the Southern side.
Most southerners were not slave owners. They were represented. I think this movie strove to show the kindness in people, as well as the darkness. I look at the South with fondness, but I know that what this movie portrayed was true - in spirit, if not fact.
Sometime after this originally came out there was some controversy over Haley faking some of this. I thought (at the time), A HA! It's bull! Again, remember that I had not watched it. Upon seeing it I realized that though some of this might be fiction, it certainly rang true.
What I didn't like about the movie: Watching Sandy Duncan and Leslie Uggams play teenagers. The acting was okay. Duncan reminded me of that spoiled brat in Little House on the Prairie. My guess is that Duncan was cast so she would look like an adult child and not seem out of place compared to Uggams. It is perhaps that during the seventies Hollywood did not want to take such a chance on a younger African-American to play Kizzy. It was an important role, and our society had not allowed Blacks to come into their own. Hollywood seems to want to force their views on society, yet they are often the last to come into line.
John Amos, whom I really like, seemed to be good and bad for his role. Someone said he sounded like he was in "Good Times" at some points. I don't feel that way. I do feel that his dialect seemed slightly out of place during some moments. He did not detract from the story, though. He carried on Burton's eternal fight for freedom with the same bullheadedness.
Ben Vereen: What can I say? When he started doing Variety Shows in the Seventies, I really admired him. He could play instruments, as well as sing, dance, and act. He does not disappoint here. I was so sad when he lost his role in Silk Stalkings due to an accident. Thankfully he has recovered over time.
Madge Sinclair: What an actress! and beautiful woman, to boot. I didn't know she had leukemia during the days I watched her on Trapper John. There were some episodes where she seemed older than her years, though always beautiful. In Roots she manages to capture and portray an inner beauty and let it shine through her bondage.
Most of the white actors were well cast, Duncan aside. I didn't realize how busy Lloyd Bridges was doing so many mini-series. He makes you hate him here, so he did his job.
Ed Asner had a very poignant remark about no one really being free. It was that he felt he was becoming a slave to his job. Please do not think I am comparing the miseries of forced slavery to a large scheme of celestial bondage, but it was pointed out in this film, that at the end of the war, freedom simply meant going from slavery into some other forced form of servitude. I'm retired, yet I often feel bound to government restrictions and the things I am forced to do routinely to simply maintain my retirement. The African-Americans added to Asner's moment by later saying that when someone died, the smile on his face meant he was finally free.
When Roots came out I remember the cries of many saying, "We now have our history!" Yes, and it was blended well into all of our histories, as I have mentioned. About five years ago, when my daughter married a man of color, he made her watch Roots. She asked me what I thought of him doing that. My response was that she needed to look at all things objectively, and know that most of life is a shade of gray. I also mentioned that had I been the same city, I would have liked to have viewed it with them. Now I can at least share my thoughts and hear my son-in-law's thoughts as well.
My biggest complaint is that the DVD is already out of print. HUH? One of the greatest mini-series ever made and I have to pay scalpers' fees for a used copy? (I borrowed my copy from the library) Please, someone! put this in a continual printing, and PLEASE, do not do what you did with others (cutting whole sections out to save a buck).
This movie (along with North and South) should be required viewing for all people. For the African-Americans, this movie should be made available forever, so that it does not simply fade into folk and family lore the way that Kunta-Kinte did - with only bits and pieces remaining.
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