As a result, probably out of fear of political upheaval, J Edgar Hoover referred to them as “the greatest threat to the internal security of the USA”. Based on evidence of the treatment and subjugation of African American people during this period, it is fair to say that such a statement would have cascaded its way down through society and added fuel to the already blazing fire of racial prejudice in the USA at that time.
The real injustice began, following the stabbing and death of prison guard Brent Miller in 1971. Almost immediately Woodfox and Wallace were charged and found guilty of his murder, based upon what is now widely regarded as a poor witness testimony. Each man had his sentence extended indefinitely with the extra ruling that he would remain in solitary confinement, a provision that followed no real precedent.
As for King, governors and prison officials felt that his connections to the Black Panther Party linked him with the death of Brent Miller and as a result, he was moved from Louisiana State penitentiary to Angola, where he too faced indefinite imprisonment spent in solitary confinement. If these men are innocent of the crimes alleged against them, then In the Land of the Free documents the biggest infringement of civil liberties and human rights in the history of the United States.
In the Land of the Free begins with an unknown voice that accompanies the opening shots of the film saying: “You don’t cry the tears. You don’t cry literally. The soul cries. It’s kind of hard to describe when the soul cries. It’s a deep, deep agony you know?” These are the words of Robert King and they are resonant throughout the whole documentary as it asks us to recognise the diabolical abuse of human rights endured by these men. King’s evocative and pained words set the tone for the film and instantly our sympathies are with him, Woodfox and Wallace.
Along with the painful accounts of confinement, persecution and isolation, there is a reflective choice of music used in the film, from emblematic African American artists like Curtis Mayfield. Such music reflects the discontent and disenchantment of the black community in late 1960’s and 1970’s America and reasserts the efforts being made by the African American community to make their voices heard in a period of institutionalised white oppression.
Another important aspect of this film is the lending of Samuel L Jackson’s voice, giving it added persuasive clout. Jackson has established himself as a proud African American male actor, making no secret of his political and societal views. As a young black male he was involved in the Civil Rights movement, and at 39 he became involved with politically like-minded director Spike Lee, playing ‘Leeds’ in School Daze (1987) and ‘Mister Senior Love Daddy’ in Do the Right Thing (1989). His voice is recognisable and brings with it the weight of Hollywood fame, putting the case of the Angola three in the spotlight of contemporary media culture.
In the Land of the Free records the ongoing struggle of the Angola three whilst conveying the determination of the men through its presentation of recorded conversations and archive footage. This perfect juxtaposition provides us with a considerate portrayal of the true meaning of perseverance and how the human mind works when it is oppressed and downtrodden, and for that reason it is as unforgettable as the men it documents.