By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
By Claire Lawton
By Kiernan Maletsky
By Anna Merlan
Which is why Bamboozled, shot on digital video because Lee was so impressed with The Celebration, holds as much promise as it does: It is Spike's getting back to what we think of as being Spike--in this case taking on racism in television. Damon Wayans (the real-life brother of Shawn and Marlon Wayans, eponymous stars of one of the most derided black sitcoms on the air) stars as Pierre Delacroix, an upscale TV writer who speaks in a bizarrely bombastic-yet-mannered "white" voice that sounds like Sammy Davis Jr. impersonating Dr. Evil. (He greets colleagues with phrases like "You have a grrrand day!") Despite being the sort of person many blacks might call a sellout, he's been struggling for some time to get an intelligent show about black people on the air but is thwarted at every turn by his homeboy-wannabe white boss, Dunwitty (Michael Rapaport), who throws around words and phrases like "dope," "booty," "peep dis," and of course the N word, which he asserts his right to utter because he's married to a black woman. ("I'm blacker than you; I'm keepin' it real; I'm 'bout it 'bout it," he tells Pierre.) Dunwitty insists that Pierre's shows aren't realistic and keeps sending him back to the drawing board.
In a fit of desperation and indignation, Pierre comes back at his boss with a plan that he's certain will get him fired, and thus out of his contract: an old-time minstrel show (this time with black people rather than white, in even blacker makeup) with a lazy, shuffling, watermelon-eating tap dancer at its center. Recruiting two homeless entertainers and renaming them "Mantan" (Savion Glover) and "Sleep 'N' Eat" (Tommy Davidson), he pitches the idea to Dunwitty as a social satire. Naturally, not only does Dunwitty love the idea, but so do the critics and the viewers. Soon, blackface becomes a national sensation.
So far, so good. It's not as much of a stretch as it might seem to imagine such a show being defended as "satire" (a Jewish publicist insists to Pierre that "the show can't be racist, because you're black"), even though what we see is so laden with profanity it would never make it on the air. A side story dealing with Pierre's relationship with his father provides the movie with some much-needed depth, although Pierre never does answer the question that his father asks on behalf of everyone in the audience: "Nigga, where the fuck did you get that accent?" When Pierre mentions that he'd rather his father not use that word, Dad fires back, "I say 'nigga' a hundred times a day. Keeps my teeth white."
Unfortunately, as the movie progresses, it gradually begins to lose focus. Pierre, who originally seemed to burn inside with anger at the subtle racism surrounding him, becomes a defender of it, trying to justify his show and keep his job even though he had intended to get himself fired. Mantan, who is depicted early on as an easy dupe who only cares about money, suddenly develops smarts and a conscience. But the biggest narrative misstep is the elevation of an ignorant rapper who calls himself Big Black Africa (Mos Def)--who is initially a hilarious parody of clueless Afrocentrism--to the role of avenging angel. It's difficult to talk about the ending without giving too much away, but it does ultimately come across as an advocacy of violence. It will be discussed on talk radio and TV-magazine shows a great deal in the weeks to come, so see the film quickly if you want to be surprised. The tonal shift from comedy to tragedy is a tough one to pull off, and Lee doesn't manage it very well, although the minstrel shows themselves nicely straddle the line between funny and horrific. Making the shift particularly uneasy is a drastic change in behavior for Pierre's secretary (Jada Pinkett Smith), and Wayans' continual voiceover narration in his outlandishly fake accent that's impossible to take seriously; imagine watching Do the Right Thing as narrated by Jon Lovitz's Master Thespian character.
To guarantee that audiences won't leave the theater laughing, however, the film closes with some extended montages of actual minstrel shows, and a collection of antique tin toys depicting African-Americans as hideous cartoons. Some of this footage is so revelatory that you wish Lee had made a documentary instead. Perhaps, though, it ultimately contradicts Lee's point (that racism is easily marketable in today's world) by showing that, despite our racial problems, we really have come a long way since the days when it was acceptable to market a spring-action toy of a mule kicking a black man in the head. For Lee to say, as he does in the press notes, that if you take away the blackface, the minstrel show he depicts is no different from many shows currently on the air, seems a little extreme--although the minstrels do act a lot like a certain computer-generated George Lucas creation.
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