Student analysis of character.

1. Mississippi Burning
Character Analysis:
Agent Rupert Anderson

2. 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.

3. 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.

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

5. 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.

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

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

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

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

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

11. 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.)

12. 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.

13. 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.

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

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

16. 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.

17. 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!”

18. 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.)

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

20. 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.

21. 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.

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

23. 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 - …