TELEVISION / BRIEFING: Civil rights and uncivil wrongs

James Rampton
Sunday 13 June 1993 23:02 BST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

I'LL FLY AWAY (10pm C4) is the sort of impeccably liberal civil rights drama the American networks seem to churn out by the yard (cf Separate But Equal on Wednesday on BBC 2). In this first of 22 parts, Sam Waterston plays Forrest Bedford, a District Attorney from the southern states in the 1950s. Not only is he struggling to bring up three children on his own (his wife is in an institution after a breakdown), he is also encountering local hostility for prosecuting a good ol' white boy for the manslaughter of three black people.

To add to his difficulties, he takes on a new black maid (Regina Taylor) who is not afraid to voice her opinions. Bedford's children come straight out of the Waltons' Book of Southern Stereotypes. Fifteen-year-old Nathan (Jeremy London) is a jock with a heart; 13-year-old Francie (Ashlee Levitch) is unbearably precocious - 'You look sexy today, dad; sex appeal wins trials' - and six-year-old John Morgan (John Aaron Bennett) is a cutesy mummy's boy. The courtroom scenes are scarcely less predictable; at one point, the judge sustains an objection with the hoary old line: 'Mr Bedford, let's keep the editorials for the newspapers.' Worthy, but wordy.

(Photograph omitted)

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in