Film Review: Burden

Despite its good intentions, Andrew Heckler’s Burden offers up a simplistic examination of racial tensions in the American South through the eyes of its problematic hero.

Burden tells the true story of the eponymous white supremacist (Garrett Hedlund) who undergoes an emotional transformation. Beginning as a dim-witted racist who only socialises with fellow Klan members, he grows gradually into a man of moral fortitude.  Through his relationship with an African American activist (Forest Whitaker) and the love of a good woman (Andrea Riseborough), Burden is redeemed through the renouncement of his racist ways – handing the keys to a KKK museum in the American South over to the African American Reverend Kennedy in a bold symbolic gesture.

Hedlund shines as Mike Burden, delivering a masterful portrayal of an impoverished Klansman who is the product of disadvantaged youth.  Whitaker brings the complex Rev. David Kennedy to life through his powerful depiction of an idealistic man with a fiendish commitment to non-violent protest. Riseborough gives a nuanced performance as Burden’s love interest Judy and Tom Griffin is appropriately repugnant as Burden’s racist father figure Tom Griffin.

This is where praise for the film unfortunately ends.  In a time when the Black Lives Matter Movement is sweeping across America and the depiction of minorities in film is under scrutiny, Andrew Heckler’s script feels antiquated and out of touch.  Heckler implores the audience to empathise with the ignorant Burden and ultimately rejoice in his redemption - once he relinquishes his status as a Klansman and abandons his racist ways.  This culminates in Burden giving control of a KKK museum to the African American, Reverend Kennedy.  By doing so, Heckler places too great a focus on the emotional journey of a white supremacist – leaving us with a one-dimensional depiction of a black community fighting for equality.  At times, the multi-layered presentation of the racist whites in the film leads to us sympathising with them instead.  This is an unintended but problematic consequence of Heckler’s approach and, ultimately, detracts from the film’s intended message.

Heckler utilises a litany of tried and true indie clichés in his stylistic choices.  Handheld camera shots are used to give the film a realistic, gritty feel; the juxtaposition of separate scenes featuring the black and white communities frequently appear in a heavy-handed attempt to highlight a community divided.  Costumes, set design and make-up work together to create an atmosphere of sheer squalor which only deeply entrenched poverty can create.  Unfortunately, none of these techniques do much to enhance a storyline which is inherently flawed.

Burden is a naïve but noble attempt to explore the complicated nature of ingrained racism in the American South.  Unfortunately, the inspired performances of its leads are not enough to save this film from a script which suffers from clear Caucasian bias; and filmic techniques which impose moral lessons on the viewer with all the subtlety of a sledgehammer.

2.5/5 stars