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The novel “Free State of Jones” written by Gary Ross is based on one of the most interesting real-life stories that occurred during the American Civil War. It tells of a rebellion against the Confederacy that was led by an angry farmer named Newton Knight. Knight’s ragtag army of poor whites and escaped slaves declared a portion of southeastern Mississippi, including Jones County, independent and loyal to the Union. Knight’s ragtag army of poor whites and escaped slaves This little-known episode is inherently astounding and powerful, but it has not been well-served by Ross’ lumpy and ill-conceived script. As a result, Matthew McConaughey’s terrific lead performance and other strong acting contributions are wasted.
The film opens with a chilling recollection of the atrocities that occurred during the one and only war that was fought on American soil. We are on a battlefield where there are lines of Confederate soldiers marching resolutely toward the enemy while coming under fire from the enemy that is so intense that it is killing one soldier after another. McConaughey’s character, Knight, is an orderly who transports wounded soldiers to a field hospital. In his line of work, he witnesses both the blood and the agony that the battlefield produces. It is obvious that he is already disgusted by the suffering he sees, as well as angered by a new law that exempts from military service men who own more than 20 slaves. According to one of his fellow soldiers who is unhappy with the situation, it is “a rich man’s war but a poor man’s fight.”
When Knight’s teenage kinsman shows up to fight and is soon killed, he deserts his company to take the boy’s body home. By doing so, he puts himself in danger of being captured and put to death. On his home turf, he is among those who have been wronged by the “tax in kind” law of the Confederacy. This law permits the armies of the South to requisition goods, food, and livestock from civilians. As a result of this, civilians are frequently left starving and destitute as a direct result of this law. In addition to this, he discovers his wife Serena (played by Keri Russell) attending to their gravely ill son. There is no doctor available, but a female slave from a nearby plantation named Rachel (Gugu Mbatha-Raw) administers herbal treatments to the boy, and these treatments bring the boy’s fever down.
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In the end, Knight is unable to conceal himself at home, so he flees into the swamp. There, he joins a small group of other slaves who have escaped their owners and creates an enclave that is nearly impossible for anyone else to access. In a short amount of time, these fleeing criminals are joined by other individuals, both black and white. Even though racism stirs up the makeshift community every once in a while, the film makes it clear that the members of the group have no choice but to show at least some degree of solidarity because of the dire circumstances they are in.
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It takes an entire hour before the movie actually starts getting exciting, which is a testament to how plodding the screenplay that Ross wrote is. While there is some dramatic interest in the events that lead up to the main plot, it is a measure of how plodding Ross’ screenplay is that it takes an hour. This takes place when the Confederate command becomes concerned about the renegades being led by Knight and dispatches soldiers to deal with them. However, Knight and his companions have prepared their own arsenal and are now prepared to engage in combat. They engage in combat and prevail. And continue to win, even going so far as to stage a surprise attack on the Confederate forces while they were attending a funeral. Knight then pursued and killed the rebel commander (brilliantly played by Thomas Francis Murphy).
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From there, Knight’s men are able to take over all or part of several counties and, after successfully repelling the substantial Confederate forces that were sent to subdue them, they declare themselves to be a “Free State of Jones” under the flag of the United States of America. It is getting close to the end of the war, but General Sherman makes the decision not to support them for unknown reasons. As a result, the period of self-government continues until the Confederacy falls apart and the union is reestablished.
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That would be a satisfying conclusion to the story, but unfortunately, that is not what takes place here. If the first hour and a half of the movie are unnecessarily slow and drawn out, the second and third quarters are a disorganized patchwork of scenes whose sole purpose appears to be to demonstrate that the reconstruction period was an even greater burden than the war. First, renegades such as the local plantation owner pledge allegiance to the union, have their citizenships restored, and immediately move to deliver freed blacks into new forms of servitude. Concurrently, the Ku Klux Klan emerges to prevent them from voting in elections. Newton sides with his fellow black citizens in their opposition to these moves and, in the meantime, challenges the norms of the community by cohabitating with his wife Serena and his common-law wife Rachel, both of whom have several children for him. (Even though it isn’t shown in the movie, the Knights’ unconventional way of life caused them to be considered outcasts by both blacks and whites.)
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Some of this history is interesting, but other parts of it are questionable (for example, the title tells us that in 1875-76 federal forces were withdrawn from Mississippi even as “Klan activity was on the rise,” whereas in reality, the Klan was effectively suppressed by actions the federal government took in the early 1870s). The narrative of the movie seems to just fizzle out completely in the end, without ever arriving at a clear turning point either dramatically or thematically.
Another problem with the screenplay that was written by Ross is a subplot that takes place during the Jim Crow era, which is several decades after the end of the Civil War. In this subplot, one of Knight’s male descendants is put on trial for breaking Mississippi’s anti-miscegenation laws by marrying a white woman (the prosecution charges he was descended from Rachel, which gives him enough black blood to qualify as black under the law). This distracting subplot may make for an interesting footnote to the primary narrative, but it is otherwise completely superfluous and unnecessary.
Ross is on much more solid ground when it comes to the generally very fine work that he gets from his cast, despite the fact that his screenwriting is problematic in ways both large and small. McConaughey portrays Knight as a man who is full of righteous fire but is also thoughtful and as restrained as the circumstances allow him to be. Knight has long hair and a beard. Russell gives Serena a steely edge, whereas Mbatha-Raw endows Rachel with dignity as well as a quiet resilience. Other notable performances come from Bill Tangradi, who plays the villainous Lt. Barbour of the Confederate army, and Mahershala Ali, who plays Moses Washington, a former slave who becomes a political activist after the war. Both of these performances are outstanding.
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