Seeing Slavery Through A New Hollywood- Are We Ready?

Hello again world and welcome back to my blog. Today's entry will attempt to decipher a question that will no doubt permeate audiences' minds within the coming months and maybe years- in this modern society, are we ready to see Hollywood depict America's past with slavery? Two upcoming film projects seem to beg the question- the first will be director Quentin Tarantino's spaghetti western/blaxploitation inspired "Django Unchained", and the second, based on the true story of Solomon Northup, is "12 Years A Slave". It is important to note that both films boast A-list casting, with "Django" having the likes of Jamie Foxx and Leonardo DiCaprio, and "12 Years" lining up Chiwetel Ejiofor and Brad Pitt. As these stars and productions prepare for this gamble and ask their audiences to place their bets upon release, I wonder exactly how films with slavery in the main role will be interpreted by our generation.



Though slavery in America has been depicted in Hollywood before, the sensitivity of the subject has caused its story to be told in between lapses of time. Also keep in mind that historical films, as with other film genres, are perceived not by the era they depict but rather by the era in which they are made. Take for example D.W. Griffith's 1915 Civil War epic "The Birth of A Nation" (a film I have seen clips of, but not yet in its entirety for fear of anger); not only are blacks and slaves portrayed by white actors in blackface, but they are portrayed as stupid, selfish and barbaric in response to their "heroic" white Confederate counterparts. Now let's jump to an American film standard, 1939's "Gone With the Wind"; though it shows a kinder, more modern phase of race relations towards the 1860's South, viewers still see subservience in blacks even after their release from bondage.



Undoubtedly, the biggest production thus far to have its audience see the complete totality of slavery in America is the 1977 television miniseries "Roots". Based from the novel of writer Alex Haley, "Roots" traces an African and his American descendants' journey into slavery, from capture to freedom. As it was made after the Civil Rights era, the main characters' roles- especially that of the African, Kunta Kinte- were portrayed as more dignified, defiant and resourceful towards their situations and aspirations. "Roots" would become a cultural landmark, still remaining one of the highest watched television programs in American history. However, in the time since "Roots", most Hollywood productions involving blacks in antebellum/Civil War era America (i.e "Glory" and "Amistad") have had slavery as a shadowy, looming backdrop against their crusade.



Now with these past narratives in mind, how will Hollywood interpret American slavery in today's post-black, Obama-era society? As "Django" and "12 Years" works toward answering this question, I personally assume that the modern audience will need their protagonist slave to be heroically resistant against their bondage, resulting in their freedom by the end of the film. I also believe that these protagonists will be a more symbolic hero whose journey relates a more one-on-one, intimate correlation with their audience. Essentially, this new model of past American slavery will have to represent a combination of society's past truths with its current ambitions while not relying on the hurtful stereotypes of that past.

For fear of these stereotypes, there are some that believe that these films could regress the psyche of blacks in cinema; that the "angry, violent, black man" has been done and over. These are valid concerns, but from what I understand to know of these films' developments it seems that the protagonists' anger is justifiable and the violence (though expected to be more cartoonish for "Django") is needed when necessary. Also, remember that the top tier casting in these films says something about the material, as I'm sure these actors would not gamble on a project that they felt would totally destroy their credibility or careers. Therefore, I eagerly look forward to the production and release of these films with the thought that this particular new model of black uprising could lead to a new sort of "black superhero" to be seen and identified by our generation specifically. So I myself am ready to see how slavery can depicted in today's Hollywood- but I am one of many, some of that many agreeing with this anticipation while the others do not. Nevertheless, the opinions, debates and possibilities of seeing an American slave liberate himself in our generation's time are infinite and groundbreaking.

Well, I think that's about it for now folks. Thanks for taking the time to read this blog, and let me know what you think about this and other entries. Until next time, peace out.

How "Superfly" Symbolizes Freedom

Hello again world, and welcome back to my blog. For today's entry, I decided to talk about my perceived deeper meaning towards a blaxploitation classic. Last night, I watched the film "Superfly" on television, my first time seeing it in at least two years (and second overall). Culturally, the film is a blaxploitation standard that is punctuated by its musical score/soundtrack by the great Curtis Mayfield. The film itself stands atop the pantheon with other classics as "The Mack", "Foxy Brown" and blaxploitation's first and greatest known effort, "Shaft". The plot of "Superfly" is about a polished drug dealer named Priest who wishes to leave the trade but must make one last score that will provide enough money for him to live comfortably (at least for a while) in his exile. But in performing this daring caper, he steadily deflects criticism for his decision, and more importantly must avoid entrapment from corrupt officials that plan to keep him in the life.

As I watched "Superfly", I came to appreciate Priest's journey to freedom. I took from this film that true freedom and choice means true sacrifice; I mean, to give up all that profit and luxury for, if anything else, peace of mind? That's an astonishing choice. But what strikes me most about it is that he knew to work and prepare for that true freedom, as he knew during the course of the movie he was not free. He also knew his captivity spread to others, as since he was in a position of power he knew he had to maintain brute force and intimidation. For example, he puts the nonviolent Fat Freddie to commit violent tasks (which would ultimately cost Freddie his life, "Freddie's Dead"), and then laments to his partner Eddie about this decision.

Speaking of his partner, in fact, I found their relationship through the movie quite allegorical to the house negro (Eddie) and the field negro (Priest). The reason behind that is for this mere fact; whereas Priest was a person who found the determination to be self-defined and independent, Eddie was basically floating towards whichever side or purpose fit him best and would have to work for least. Eddie had no sort of vision for himself, and never really claimed responsibility for himself or anything in his life. By the end of the movie I found him to be a willing, but paid, slave to whichever entity provided the materialistic lifestyle he so loved. This of course puts a rift between he and Priest, as Eddie would become his biggest detractor against going straight, moreso out of Eddie's self-preservational leech mentality.

I connect to "Superfly"'s dream of freedom in life most in his excited outlook towards new opportunity and choice. In the scene where his girlfriend asks him what will he do when he is out of the game, he in effect replies that he doesn't know what his future will be but is nevertheless excited by the possibilities of it; possibilities that from then on he will totally assume and control. I think that statement reflects what I feel to be the truest feeling of total independence for oneself, as they come to the realization that only they can- and must- commit themselves to the direction of their lives, having the confidence in their decisions and readiness in their outcomes. As I stated earlier, true freedom means true sacrifice, so in making this choice you must be fully ready and prepared. I think in all that is what I perceive to be the underlying message in "Superfly".

Well, that's about it for now folks. In closing, I'll leave you with the classic "Superfly" theme by the great Curtis Mayfield. Thanks for taking the time to read the blog- in all honesty, I hope it made sense.Let me know what you think about this and other entries. Until then, peace out.