THE GREAT WHITE HOPE is a successful play by Howard Sackler first, premiered in 1967 and both Jones and Alexander won Tony Awards for it. Then this film adaptation sticks with the two leads and is directed by Martin Ritt, whose works are generically significant in requiring dramatic acting predisposition (THE LONG, HOT SUMMER 1958, 6/10; MURPHY'S ROMANCE 1986, 7/10). The scenario is about the black boxer Jack Jefferson (Jones), whose real-life archetype is Jack Johnson, the first African American world heavyweight boxing champion (1908-1915), his up-and-down life orbit and the relationship with his white financé Eleanor (Alexander). And the title signifies his opponents' urgent solicitation for any white boxer who can reclaim the golden belt from him.To be expected, the first half is a prolonged battle against the racist's bias inside the US nation, Jack's gregarious and often jokey public image is his weapon to counteract the provincial prejudice, but when he faces his own kinds, he takes umbrage at their equally biased minds, which shows how in-your-face and sapient is Sackler's script, external hostility is disrespectful, to be sure, but it is the internal rift that hurts the most (usually due to jealousy). Fortunately, their unconditional love is the remedy for this part, Jack wins the champion title but soon to be deliberately persecuted by authority figure sand has to sneak away from homeland and go into exile in Europe, with a daring scheme to get away under the police's eyes after receiving his mother's blessing, Jack escapes with Eleanor, his agent Goldie (Gilbert) and loyal trainer Tick (Fluellen).The second part of the film is an extensive hubris study, from a national champion to a down-and-out exile, Jack and Eleanor's affinity is under severe strains, from Great Britain, France to Hungary, Jack persistently refuses to go back for a lose-it-all match in exchange of getting his charges revoked, he dismisses Goldie and they relocate in Mexico, it all goes down to Jones and Alexander's heartbreaking bickering scenes which is unsparingly painful to watch, and at the cusp of the tension, a tragedy would unexpectedly ensue, and finally Jack caves in, fights for a match he is doomed to lose. The spectacular performance is the bona-fide highlight of this theatrical piece, both Jones and Alexander are remarkably scintillating and intensely heart-rending, they were worthily Oscar-nominated that year, as her screen debut, Alexander has a borderline leading role but her plaintive mien and inviolable finesse proves that acting is her vocation. Jones, before he would become the universally beloved voice of Darth Vader, clearly goes all out in a hard-earned leading role for a black actor at then, he scopes out both the charisma and the weakness of his character quite remarkably, although physically he doesn't bear a convincing resemblance of a brawny boxer. If you are a sport fan and into boxing matches, the film would let you down mercilessly, by modern standard the final showdown is conspicuously fake, all the jabbing and punching are laughably posed, but it would be a different matter for theatrical connoisseurs, for me, I didn't see the ending coming as it is enacted in the film, a nice conceit indeed, he doesn't fake to lose the game, purely he is not that champion any more, he is a man destroyed by this unjust world, a tragedy of his time and a tale of woe resounds profoundly.

As an 18-yr old, I vividly remember when this movie came out and the swirling controversies that accompanied it. Whites were cautious because it openly dealt with not only an interracial love affair but because of the depiction of an unrelenting, proud, but very angry black man. Interestingly enough, with the advent of Black Power/the Revolution and the emergence of the Black Panthers, most black audiences were equally cautious as well and for exactly the same reasons. Also keep in mind I was living in the South then too. Even in 1970, few southern towns would actually show the film.This is a variation on the real-life troubles of Jack Johnson, one of boxing's earliest contenders.Hands down the most compelling performances are those of James Earl Jones and Jane Alexander that leave an indelible imprint on the viewer. Because of the racial fabric of the time, Jack knew he was asking for trouble by openly defying white authority and then compounding that by becoming involved with a white woman. Both undoubtedly knew full well what they would be up against. While they may have deeply loved each other in the beginning, they soon discovered that simply love does not conquer all.The movie is also filled with treasures of African-American performances by the likes of Beah Richards, Moses Gunn, Roy Glenn Sr. and Virginia Capers. This alone is worth the price of admission.In many instances it is most difficult to watch. Two mesmerizing and thoroughly wrenching scenes were Jane's suicide and when Jack and company were reduced to performing "Uncle Tom's Cabin" in Europe to survive.The film is most certainly uncompromising which was a MAJOR achievement given the social fabric at the time. James Earl Jones and Jane Alexander both deserved Oscars for their performances but that would have been like condoning their whole situation and god KNOWS Hollywood would NEVER have done that.....(sigh) Another example of not being able to see the forest for the trees. Nonetheless, this is an eeeeeeeeeexcellent film and most worthy of your movie collection

Great movie about racism in the world at that timeJames Earl Jones was both the film and Broadway actor. The Great White Hope Alvin Theatre, (10/3/1968 - 1/31/1970) Preview: Total Previews: 15 Opening: Oct 3, 1968 Closing: Jan 31, 1970 Total Performances: 546 Category: Play, Original, Broadway Setting: The years before and during World War I. Awards and nominationsOpening Night Production Credits Theatre Owned / Operated by Herman Bernstein Produced by Herman Levin Written by Howard Sackler; Music arranged by Charles Gross Directed by Edwin SherinOpening Night Cast James Earl Jones Jack Jefferson Jane Alexander Eleanor Bachman Thomas Anderson Negro Man G Jackson

Before I fully begin, let me make one thing clear: The emphasis in this film is not boxing, but the life of a boxer (Jack Johnson) played by James Earl Jones (Darth Vader).In telling the tale of Johnson's life this movie depicts the racial boundaries going on in America in the early 20th century. Unlike many films which tell a tale of racial injustice, this film manages to do it:a) Without sugar coating anything. b) Without being over-dramatic.I saw it today on television and I didn't know what to expect before it started. I was interested to see it because I've heard references made to it in the past and was curious. I can say for certain that giving this film a chance, and watching it beginning to end, is the best movie-related decision I've made in a long time (at least ten-thousand times better than deciding to rent Resident Evil 2). In watching this I got a deep sense of reality. A big reason for this is a simply phenomenal performance by James Earl Jones, as well as solid acting on the part of Jane Alexander and many of the supporting cast members.I couldn't believe that IMDb only has 8 reviews of this movie (at least at the time of me writing this), and due to some folks totally missing the point of it, it has a somewhat sad rating. SEE this film if you are into compelling stories about interesting people which are well written and acted.DON'T see this film if you expect Rocky III.There are a lot of good movies out there and I enjoy all manner of cinema, but I can say without a doubt in my mind that The Great White Hope has made it into the realm of my favorites. 10 out of 10