Within the spectrum of hundreds of cinematic experiences unfurling annually, the innate joy derived from straightforward, comforting narratives occasionally steals the spotlight. Maggie Betts' “The Burial” delicately presents itself as such, weaving a nostalgic 90s-inspired courtroom drama with an underlying comedic rhythm. When Willie E. Gary, a flamboyant personal injury lawyer interpreted by Jamie Foxx, steps into Mississippi, he champions the unassuming Jeremiah O’Keefe, portrayed by Tommy Lee Jones, against a formidable multi-billion dollar corporate adversary. The tale is as sweet and uncomplicated as a gentle wind on a warm Southern summer day.
Despite grappling with a few cinematic challenges like underdeveloped characters, a peculiarly shaped antagonism, and an ending that falls a bit flat, Betts’ heartwarming narrative of unlikely allies transforming into friends demonstrates an undeniable charm and entertainment value. The story takes its initial dramatic steps a few months earlier. Financially strained Jeremiah, who owns several funeral homes and a burial insurance enterprise, ventures to Vancouver, BC, with his seasoned lawyer Mike Allred (Alan Ruck), attempting to sell three funeral homes to CEO Ray Loewen (Bill Camp). While an agreement seems to be reached on Loewen’s yacht, the contract remains unsigned four months later. Only the astute young lawyer Hal (Mamoudou Athie), a family friend, senses something awry, suspecting Loewen’s strategy might be to bankrupt Jeremiah, enabling a cheap acquisition of the funeral home chain. Consequently, Hal persuades Jeremiah to pursue legal action in the predominantly Black Hinds County, marking the entrance of Willie E. Gary.
Films that tread the “We Must Overcome” theme, such as “Green Book” and “The Blind Side,” often stumble by attempting to address the vast canvas of racial injustices within a concise, uplifting narrative, often leaving only the white characters with a semblance of redemption and compensation by the finale. “The Burial,” however, steers clear of asserting it can dismantle the entangled web of microaggressions, inequality, and racism within its 126-minute duration. The film does not set out to absolve Jeremiah of latent guilt but places Foxx's Willie in a prominent, lively, and humor-infused role, displaying one of his most compelling performances in recent years (with “They Cloned Tyrone” also showcasing him impressively in 2023).
Willie, aspiring for both respect and financial success, emerges as the only character with depth and dimension. Jeremiah is largely portrayed as utilitarian; beyond his business, expansive family, and wife (Pamela Reed), the audience gains minimal insight into his life or personality (although Jones expertly harnesses his quiet energy). His children are unseen, and a similar lack of depth is granted to Willie’s spouse, Gloria (Amanda Warren), and Jeremiah’s legal team, Hal and Mike. Furthermore, Mame Downes (Jurnee Smollett), an accomplished lawyer enlisted by Loewen upon realizing the necessity of Black attorneys to secure victory in a Black county, follows suit. Although Mame and Willie cultivate a friendly rivalry, with their interactions oscillating between strained and slightly inappropriate, it leads to strategic courtroom maneuvers and shrewd acting choices by Smollett as her character wrestles with representing an unsavory white individual.
Although “The Burial” does not center on race, racial elements undoubtedly permeate it, unfolding in the aftermath of the O.J. Simpson trial. The harrowing racial history of the South is vividly highlighted: Hal, performed with restraint by Mamoudou, encounters microaggressions, while the National Baptist Convention not only becomes pivotal to the case but also infuses the film with additional depth, emotional complexity, and pain.
Culturally nuanced Black humor also finds a home in “The Burial.” Willie, as a character, naturally encapsulates comedy: ostentatious, somewhat out of his depth, and self-deprecating. Foxx seamlessly navigates these attributes without reducing Willie to mere comic relief. His melodic, signifyin' speech (evident in a standout confrontation between Foxx and Camp at the climax) further elevates the performance. The screenplay, penned by Doug Wright and Betts, coupled with Mirren Gordon-Crozier’s vibrant costume design, further amplifies the comedic elements, with visuals ranging from Willie and his wife showcasing on “Lifestyles of the Rich and Famous” in opulent velvet attire to the detailed tailoring of Willie’s luxurious suits.
Permeating through the classic underdog narrative of the film is Foxx's emotional depth and vitality. Even as courtroom scenes occasionally tread into familiar territory, Foxx introduces a balance of tension, levity, and diligence, elevating “The Burial” from its conventional structure to a heartening, uniquely entertaining comedy, warranting multiple viewings.
