THE BUS IS COMING (1971)

Title: THE BUS IS COMING

Year of Release: 1971

Director: Wendell Franklin

Genre: Drama

Synopsis: A black Vietnam veteran returns home to discover his brother has been murdered by racist white policemen, and seeks to find his killers and bring them to justice.

Within a film history context: Racism directed toward African-American characters has been a prevalent theme in motion pictures. One of the first documented films on the topic was Oscar Michaeux's  THE SYMBOL OF THE UNCONQUERED (1920). Passions erupt as it is discovered a black man owns lands where there is an oil field, and then a dangerous game to make him sell unfolds. Interracial relationships and adultery were explored in BORDELINE (1930), directed by Kenneth MacPherson. With Paul Robeson in the lead role, a black woman has an affair with a white man, this causing emotional problems for his wife, with an outpouring of racism resulting. One of the most famous stories exploring racism was John Stahl's IMITATION OF LIFE (1934). A white woman with a daughter befriends, and lives with a black woman whose daughter wishes to pass for white. A classic treatment of a Fannie Hurst novel, it was remade in 1959 in a much glossier Ross Hunter produced version, helmed by Douglas Sirk. Similar themes were evident in PINKY (1949), directed by Elia Kazan. In this movie, a light-skinned black woman does not reveal to her doctor amour her true race, which causes a number of issues in their relationship. Stanley Kramer's THE DEFIANT ONES (1958), focused upon the uneasy relationship between two escaped convicts - one white, and the other black. A showcase for both Tony Curtis and Sidney Poitier, it was a memorable film experience. Into the 1960s, further views of racism against African-American character can be found.

A RAISIN IN THE SUN (1961), directed by Daniel Petrie, was a film about a black family, and the impact of an insurance payout on them, with racism ensuing when they attempt to move to a neighborhood with white neighbors. Robert Mulligan's TO KILL A MOCKINGBIRD (1962) devoted a large part of its narrative to the trial of a black man accused of raping a white woman. A sobering indictment of racism, it featured the stunning performance of Brock Peters as the accused. ONE POTATO, TWO POTATO (1964), directed by Larry Peerce, looked at what happened when a white woman marries a black man, and the custody battle instigated by her ex-husband for their child. In the subsequent court case racial tensions emerge and become heated. More inspirational was James Clavell's TO SIR WITH LOVE (1967). The race card is again employed here, this time with a black high school teacher finding difficulties with the students in a London school. With Sidney Poitier in the lead role, it was a winning film. IN THE HEAT OF THE NIGHT (1967), directed by Norman Jewison, was another movie with Sidney Poitier. This time around, Mr Poitier was a detective investigating a murder in the South, and clashing with a racist police chief about the crime. Yet another Sidney Poitier vehicle could be found in Stanley Kramer's GUESS WHO'S COMING TO DINNER (1967). Also starring Spencer Tracy and Katharine Hepburn, it followed a family whose daughter brings home her new fiancé, who happens to be the genial Mr Poitier. Misunderstandings and realizations ensue in this insightful comedy-drama. More irreverent was PUTNEY SWOPE (1969), directed by Robert Downey Sr. Tensions rise when votes for an advertising agency's new chairman lead to the agency's only black man, the eponymous Putney Swope. Gordon Parks' thoughtful THE LEARNING TREE (1969) followed lead character Newt battling racism and ignorance in a small town. A beautiful film that made its points with poise, it was one of Mr Parks' best films. Several films in the 1970s focused upon racism directed toward African-American characters before THE BUS IS COMING. 

TICK, TICK, TICK (1970), directed by Ralph Nelson, followed a small Southern town, and what happens when an African-American man is appointed sheriff. It was another challenging role for Jim Brown, again in the middle of explosive racial tensions in this film. William Wyler's THE LIBERATION OF L.B. JONES (1970) had a larger African-American cast of actors than TICK, TICK, TICK. A soft-spoken black funeral director is murdered, with the racism of corrupt police and other town citizens exposed for the audience to consider. Racism, adultery, rape, and homicide were just some of the topics here explored with vigor by Mr Wyler. Much lighter in tone was WATERMELON MAN (1970), directed by Melvin Van Peebles. Here racism took on another dimension as a white man becomes black, and becomes the target for racist taunts. The intention here was to promote understanding of black issues, and how white people are not always cognizant of these problems, but with humor to make things palatable. Martin Ritt's THE GREAT WHITE HOPE (1970) gave James Earl Jones a tremendous role as a black boxer with a white girlfriend, facing racism in the rough, white dominated world of boxing. No holds barred could aptly describe SWEET SWEETBACK'S BAADASSSSS SONG (1971)), directed by Melvin Van Peebles. An African-American man becomes involved in crime, and is hotly pursued by both police, and bikers in this arresting movie containing many strong moments of overt racism. THE BUS IS COMING had elements in common with examples such as THE LIBERATION OF L.B. JONES in terms of its multi-character narrative, and sympathetic treatment of racism, but diverted from these in various ways.

With THE LIBERATION OF L.B. JONES, a murder occurs which casts a pall over the characters in the film's second half, and is influential to the movie's climax. In THE BUS IS COMING, the funeral of a black man at the film's start is the impetus for a black Vietnam veteran to find his brother's killer. This is a story that continues for the entirety of the movie, and is resolved in a satisfactory manner. It is also notable as one gets to witness the film's characters, both black and white, reveal sides of themselves regarding this event, with many surprises abounding for the viewer, likewise with THE LIBERATION OF L.B. JONES. Other features of THE BUS IS COMING are also worthy of analysis.

As with THE LIBERATION OF L.B. JONES, THE BUS IS COMING takes its time in building character relationships, and situations, which fare well for it until its unexpected conclusion. One becomes intimately acquainted with the characters, which fosters understanding of their behavior and mindsets. Another common thread in both films is the treatment of black people by the police, but the police force in each film has a different purpose. In the case of THE LIBERATION OF L.B. JONES officers commit heinous crimes against black people, and one of the officers in question has serious guilt issues with his part in the crimes. In THE BUS IS COMING, there is an upstanding chief of police who is not racist, but his subordinates, unlike the example from THE LIBERATION OF L.B. JONES, do not back down from their racist stance, with absolutely no remorse for their actions. The contrast is telling, giving each film individuality in this area. There is another reason why THE BUS IS COMING is a striking film with its racism theme.

Unlike many of the other films in the genre, such as SWEET SWEETBACK'S BAADASSSSS SONG and WATERMELON MAN, whose narratives can often be fanciful, the characters and settings in THE BUS IS COMING could really have been in existence, giving the film an air of authenticity and verisimilitude. It harks back more to films such as A RAISIN IN THE SUN, THE LEARNING TREE, and ONE POTATO, TWO POTATO in its evocation of a small town, and realistic milieu. While for some viewers a more down-to-earth presentation in this respect may seem staid, the overall effect is refreshing for those seeking less escapism. The nursery school, the police department, the row of stores in the town, for example, carefully establish settings that only instills further confidence in the film. One of the best films dealing with racism toward African-American characters, THE BUS IS COMING is a thoughtful, sincere viewing experience.

Overview: Wendell Franklin was assistant director on many notable films such as McHALE'S NAVY (1964), THE GREATEST STORY EVER TOLD (1965), MADAME X (1966), FUNNY GIRL (1968), and MEDIUM COOL (1969). THE BUS IS COMING was Mr Franklin's directorial debut, and, unfortunately, his only credit as director. Judging by this film, it would have been interesting to have seen further evidence of Mr Franklin's output, as it is a compelling movie. An examination of racial tensions in a small town between its white, and African American residents, Wendell Franklin has done an admirable job with THE BUS IS COMING. 

Mr Franklin has crafted a movie that presents a balanced number of both white, and African-American characters in well-drawn roles, the movie giving all players adequate coverage. The characters either rail against racism directed against them, or perpetrate further racism, which gives the narrative punch and power. THE BUS IS COMING contains many unexpected moments within its running time that lift the film from what could have been an average movie, into one that is definitely above average. Characters are complex, and not stereotypes, another of its great features. It is a film that keeps one guessing as to what will happen next, keeping its cards close to its chest, which works from both a story, and a suspense viewpoint. One believes events will go one way, but they go in an entirely different direction. Other features of the film are of interest, and warrant dissection.

THE BUS IS COMING is also to be lauded as it works well within the boundaries of the GP rating of its time, the current United States' Parental Guidance, or contemporary PG rating. It has a vividness and candor that R rated films have, but without the sex, violence and nudity these sometimes possess. Including these elements would have eventuated in a lesser film, than the sincere, solemn result of the movie. Where the film falters slightly is in the wrapping up of the fate of its characters for the audience. One has invested time in the characters and their outcome, but to not see it satisfactorily resolved is disappointing. On the one hand the ending relates to the beginning, wrapping this up for the viewer in a subtle manner which is a valid move. On the other hand, not knowing what happened to Billy, John, and Miss Nickerson, to name a few examples, is disheartening. Despite this, THE BUS IS COMING should be recognized as an ambitious anti-racism film that has its heart in the right place.

Acting: THE BUS IS COMING has convincing performances that make the movie compelling viewing. Mike B. Sims, as Billy Mitchell, does well as the pacifist young man searching for his brother's killer, not seeking violence, but nevertheless finding thus. As with many of the actors in this film he only performed in this movie, but his contribution was essential. Burl Bullock, as Michael, provides some of the most striking acting in the film. Playing a volatile character with an unpredictable streak, Mr Bullock definitely knows how to make his presence felt, his short fuse giving his scenes electricity. In complete contrast, Jack Stillman, as Billy's friend John, excels as the sensitive, vulnerable young soldier. Better known as gay and heterosexual pornographic model Jack Wrangler, Mr Stillman is perfect in the role, and makes one wish he had acted in more mainstream films. Three other actors also make their mark in THE BUS IS COMING.

As Chief Jackson, Robert Brubaker is excellent as the even-handed policeman with integrity, whose character can be contrasted with the corrupt officers the movie showcases. Morgan Jones, as racist policeman Tim Naylor, is someone the viewer loves to hate. Committing unspeakable crimes, and motivated by burning racism, Mr Jones plays his role with a calm veneer that can explode at a moment's notice. The final acting of note in THE BUS IS COMING is by Sandra Reed as Miss Nickerson. While Miss Nickerson appears to be an acidic viper on the surface, Miss Reed gives her character a depth that, as she did in JOHNNY TOUGH, makes one consider the reasons for her disturbing behaviour, and actions, in the movie.

Soundtrack: THE BUS IS COMING's theme song, performed by O.C. Smith, is played during the opening credits, and during the movie's final scenes. This is in line with other films of the 1970s featuring a theme song at the both the beginning, and end of a film. It serves the purpose of viewers having certain expectations at the start, others when the movie ends, and what has been learned in the interim by watching the film. The picture also contains incidental music, particularly the jazzy piece played during key moments, such as Michael and Dobie's shoplifting, and the more thoughtful scenes between Billy and Tanya, with a more romantic tune employed.

Mise-en-scene: THE BUS IS COMING has true-to-life attention to detail in its mise-en-scene. Outdoor sequences such as the cemetery where Billy's brother is laid to rest, the shoplifting segment in the block of shops, the exterior of the nursery school, and the rights protest, to name a few examples, are all well-orchestrated, and exude authenticity. Interiors are likewise, such as the house where Michael and his fellow militants congregate, Billy's house, with its familial atmosphere, and the church funeral service standing out. Costuming is appropriate to the characters and their environs, such as Tim Naylor's police uniform, and Miss Nickerson's conservative attire which is in contrast to her deceitful and adulterous nature.

Notable Acting Performances: Mike B. Sims, Burl Bullock, Jack Stillman (Jack Wrangler), Robert Brubaker, Morgan Jones, Sandra Reed.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer