Even Captain Taylor, the only White officer who wants the killers prosecuted, is uncooperative and patronizing, fearing a Black officer will have little success. Davenport soon discovers that whenever the Klan murders Black soldiers, they strip them of their military insignia, whereas the body of Sgt. Waters was found wearing an intact uniform.
Davenport learns that Waters's company was officially part of the 221st Chemical Smoke Generator Battalion. They are kept on the Home Front and assigned menial jobs. Most are former players from the Negro baseball league, grouped to play ball with Waters as manager.
Private James Wilkie, a former sergeant Waters busted for being drunk on duty, describes Waters as a combat veteran who was awarded with the Croix de Guerre by the Third French Republic during the First World War. He also says that Waters was a strict disciplinarian but a fair NCO who got on well with his men, especially baseball pitcher and jazz musician C.J. Memphis.
Private Peterson reveals Waters's tyrannical nature and his disgust with Black soldiers from the rural South who lacked education or who spoke in Gullah dialect. Peterson also recalls how he beat up Waters when the sergeant berated the men after a winning game. Interviewing other soldiers, Davenport learns that Waters charged Memphis with the murder of a White MP after a search conducted by Wilkie turned up a recently discharged pistol under his bunk. Waters provoked Memphis into hitting him, and while the murder charge was dismissed, he was charged with striking a superior officer.
Davenport next interrogates Memphis's best friend Corporal Bernard Cobb. Cobb recalls visiting Memphis in the brig, where he told Cobb of a visit in which Waters admitted the planted gun was part of a frame-up. Waters viewed "Geechees", as he termed uneducated southern Blacks like Memphis, as an obstacle to racial equality and the success of the future African American upper class. Davenport also learns from Cobb that Memphis, who suffered from claustrophobia, hanged himself while awaiting his court-martial. In protest, the baseball team threw the season's last game. Taylor disbanded the team, and the players were reassigned to the 221st.
Davenport learns that racist White officers Captain Wilcox and Lieutenant Byrd had an altercation with Waters shortly before his death. Both officers admit to assaulting a guilt-ridden Waters after he confronted them in a drunken tirade. They admit that they would have killed him, but only men on guard duty are issued .45 ammunition when the unit is on bivouac. Immediately after learning of Waters's murder, both officers turned in their side-arms, and ballistics testing cleared them.
Davenport interrogates Wilkie, who admits he planted the gun under Memphis's bunk on Waters's orders. Wilkie also reveals that Waters had told him the real reasons for his hatred of Gullah-speaking southern Blacks like Memphis. While serving with the AEF in France during World War I, a Black soldier in Waters's unit had, at the urging of racist White Doughboys, humiliated them all by dressing up and acting like a monkey in front of the French girls at a cabaret. In retaliation, Waters and his enraged fellow Black Doughboys slit the soldier's throat.
Davenport demands to know why Waters did not also frame Peterson after their fight. Wilkie explains that Waters liked Peterson, as he spoke proper English and stood up for himself. Davenport has Wilkie arrested just as the 221st is about to be shipped out to join the fight overseas.
Realizing Peterson and Smalls were on guard duty the night of the murder and thus had been issued .45 ammunition, Davenport interrogates Smalls. He confesses to watching as Peterson fatally shot Waters, claiming it was "justice" for Memphis and for all Black people.
Taylor congratulates Davenport on the arrests of Wilkie, Peterson, and Smalls, admitting that he will have to get used to Negroes being commissioned officers. Meanwhile, the platoon marches in preparation for their deployment to the European theater of war.
Jewison and many of the cast members worked for scale or less under a tight budget with Columbia Pictures. "No one really wanted to make this movie... a black story, it was based on World War II, and those themes were not popular at the box office", according to Jewison. Warner Bros. turned it down, as did Universal and Metro-Goldwyn-Mayer. Columbia's Frank Price read the screenplay and was deeply interested, but the studio was hesitant about its commercial value, so Jewison offered to do the film for a $5 million budget and no salary. When the Directors Guild of America insisted he must have a fee, he agreed to take the lowest possible amount. The film ended up grossing $22.1 million.[5]
In a 1985 interview with the Los Angeles Times, Caesar stated, while crafting the character of Waters, he drew on his frustrating experiences with both racism and ignorance in Classical theatre, "I’d studied Shakespeare to death. I knew more about Shakespeare than Shakespeare knew about himself. After I did one season at a Shakespearean repertory company, a director said to me, ‘You have a marvelous voice. You know the king’s English well. You speak iambic pentameter. My suggestion is that you go to New York and get a good colored role.' Waters has tried his best, but no matter what you do, they still hate you."[6]
A Soldier's Story was shot entirely in Arkansas. The "Tynin" exterior scenes were shot in three days in Clarendon. The baseball sequence was filmed in Little Rock at the historic Lamar Porter Field.[7]
Bill Clinton (then Governor of Arkansas) dropped by during the shooting. He became very enthused about the project and later helped by providing the Arkansas Army National Guard in full regalia for a grand scene, since Jewison could not afford to pay an army of extras. Production was completed with their help at Fort Chaffee United States Army Ready Reserve base at Fort Smith.
The film holds a 91% rating on Rotten Tomatoes from a sample of 22 critics. The site's consensus reads, "A meticulously crafted murder mystery with incisive observations about race in America, A Soldier's Story benefits from a roundly excellent ensemble and Charles Fuller's politically urgent screenplay".[9]
