Mississippi Burning Character Analysis - Agent Anderson

Mississippi BurningCharacter Analysis:

Agent Rupert Anderson

When we first meet Agent Anderson, we’re not sure if he’s part of the problem or not, as he starts singing a KKK song.

We come to find that he’s being sarcastic, and seems a rather jolly sort, considering the severity of the crime he is coming to Mississippi to investigate.

He views his partner (OTS shot) as a stereotypical FBI man: poindexter-y, by-the-book, a real “Hoover” man.

Agent Anderson tries to fit into the community. Being a Southern man himself, he knows how to do this. Notice how he dresses [is costumed] like the townsfolk – jacket off, hat on in public.

We learn that despite his casual, smiley appearance, he is a tough guy after all, and he knows how to speak the local lingo.

OTS shot – Sherriff isn’t threatened by him “a missing person’s case.” (Not help with their “Negro problem.”)

Agent Ward stands out like a sore thumb, but Agent Anderson fits right in.

Asymetrical mid-shot. Anderson is unhappy that Ward keeps wanting to work by the book, which will only cause problems dealing with this case.

We learn that Anderson feels strongly about what’s happening in his home state.

And that he feels that neither side is “right” or “wrong” (kids were used by the leaders in charge, who knew their lives were in danger.)

Anderson appears, to Ward, to be part of the problem. (Note low angle asymmetrical shot.) Despite lamp being right there, it brightens Ward, while Anderson is in the darker part of the frame.

Audience and Ward learn that Anderson does understand the big picture: “he didn’t know that being poor was what was killing him.” This anecdote helps flesh out both the character and the situation in the South.

However, Anderson still functions as an outsider to the FBI group.

Everyone else is working hard on files, while Anderson thinks about how to deal with the problem – breaking the code of silence.

Anderson presents himself to the key players as just another good ole boy, but with a rod of steel in his spine. His smile and manner are a façade.

As Ward becomes more desolate (and cannot fathom the “why” about what is going on with the KKK – “What is wrong with these people?”), Anderson waits for Ward to decide that perhaps Anderson’s ways are what will break the case. Dialogue: “Get out of the gutter Mr Anderson!” “They climbed out of the sewer Mr Ward! Maybe the gutter’s where we need to be!”

In the meantime, he goes around town talking to people, without pushing the issue of the case. (Sadly, it is the beating of Mrs Pell by her husband that finally pushes Ward into letting Anderson have his way.)

It is Anderson’s idea to “drive Lester home, ” in front of all the townsfolk (MS – looks like Lester is “talking with” the FBI).

Anderson who arranges a pseudo-KKK kidnap and intimidation of Mayor Tillman (who breaks and tells them everything). CU – Tillman’s fear, just like a black man’s.

Anderson who speaks Clinton Pell’s language and puts his hands on him. CU – cutting Pell with a razor blade, just like the story the agent told the mayor.

And Anderson who finally gets Lester to crack by setting up a fake KKK kidnap & lynching. LS – agents revealed as faux-KKK.

In the end, Anderson knows that what he did was nearly as bad as how the KKK behaved, but he believes it was for the greater good (the end justifies the means). That doesn’t mean he’s happy about it. MS – Ward’s back - …