Black Dynamite

Introduction

The blaxploitation genre hit the cinema circa 1971, arguably started with the Richard Roundtree film Shaft. Although there are a couple of other likely contenders, this is the one most point to as the beginning of this rather decade specific genre. Blaxploitation films were essentially made with black actors for black audiences with the plot ostensibly following rather stereotypical lines. Major players in these films were hit men, pimps, prosititutes and private detectives and the background to these films was an atmosphere of pervading crime on the streets with no one safe. The general theme was one of revenge and getting one over on The Man, essentially the US government but could include anyone in authority. In general, white actors played cops, politicians, prostitutes and gangsters, any and all of whom could be corrupt and gullible. And, of course, they had a rather funky soundtrack to go with them whether it be Isaac Hayes with the ubiquitous Theme from Shaft, Curtis Mayfield (Super Fly) or Marvin Gaye.

Other than Shaft, there is a veritable list of famous blaxploitation films. The list contains names such as Black Belt Jones, Super Fly, Foxy Brown and Dolemite. Some elements of the genre would hit mainstream TV, think Starsky and Hutch, whilst modern film makers such as Quentin Tarentino would also be highly influenced by these films, going as far as to either reference them (see Pulp Fiction) or remake them (see Jackie Brown). There have also been some spoof films of this genre over the years, this particular genre being quite rich in material prime for subverting. Part of the charm was that films were made quite quickly and with little budgets, and so they would be rife with continuity or framing errors, and this is where Michael Jai White comes in.

White was working on Undisputed II in Bulgaria back in 2006 and during a break heard James Brown's Superbad on his iPod, immediately getting an idea for a film.Back in the US he then honed this idea with both director Scott Sanders and co-star Byron Minns. Sadly the idea of calling his film Superbad after the inspirational track took a bit of a dive after the Seth Rogen film of the same name emerged and so came the idea of Black Dynamite, presumably a play on Black Belt Jones.

Anyway, to the plot...

Black Dynamite (Michael Jai White) is an ex-CIA operative and one man killing machine on a mission of revenge after The Man shot his little brother for not being able to talk street jive in the proper manner, can you dig it? While investigating, BD not only finds out that someone is flooding the orphange with drugs but that The Man has a much more fiendish plan in mind to subjugate the black man. Teaming up with the bootilicious Gloria (Salli Richardson-Whitfield) and a righteous gang of militant revolutionaries with names like Cream Corn (Tommy Davidson), Bullhorn (Byron Minns) and Mo Bitches (Miguel Nunez), BD starts to clean up the streets and save the kids. Starting with the local pimps, he then moves through corrupt politicians, cops and gangsters onto the kung-fu treachery of the fiendish Dr Wu before tackling a nun-chunk wielding Richard Nixon, for the ultimate show down in the White House. Along the way, we may also find out the secret behind Anaconda, the only malt liquor approved by the US government...

Picture

The attention to detail on this film is rather special and a testament to the skills of cinematographer Shawn Maurer. The costume and feel are very much of the period, but that's only half the story. One of the characteristics of the genre being lampooned here are the errors caught on celluloid and Maurer does a fantastic job of bringing it back to life in a rather loving way and doesn't go overboard by repeating the in-jokes over and over.

You'll see the boom mic in shot, extremely quick editing that makes no sense at all, actors that appear from nowhere, and quite terrible driving backdrops - not to mention the re-use of the same shot of a car going over a cliff (yes, I'm willing to bet you've seen the same clip elsewhere...). Add in a selection of stock shots taken from the likes of Charlie's Angels amongst others and you have something that feels a little special while looking like something just thrown together quickly.

Sound

Not sound so much but really an apreciation of the soundtrack. White and  Sanders could have gone for the licensing of period tracks for this but didn't have too as editor Adrian Younge has created a fantastic period score, done in his garage with songs that not only evoke the period but lyrics that explain what's going on. Very clever and just adds yet another dimension to this quite sophisticated piece.

Overall

There have been a number of spoof movies over the years, arguably the most accurate being the Zucker and Abrahams fronted Airplane and Naked Gun series (although truth to tell, I prefer the Police Squad TV series over the Naked Gun films). Recently you've had the Scary Movie series alongside such luminaries as Meet The Spartans, Epic Movie, Date Movie and Disaster Movie - none of which are particularly funny being as they are just a series of self-referential jokes about celebrities or films shoe-horned into something calling itself a script.

Black Dynamite has been called a spoof of the blaxploiotation genre but I think that's a little too simplistic. Black Dynamite is a real homage to the genre and is more a satire than spoof, everything played absolutely straight and serious but within a rather ludicrous premise. White's script is full of nonsensical dialogue that just fits quite nicely with the shot design, paying respect to a film genre that is still warmly appreciated but sometimes took itself a little too seriously. I mean, how on earth do you take a line such as "Your knowledge of scientific biological transmogrification is only outmatched by your zest for kung-fu treachery!" seriously?

You can't really say too much about the acting as a lot of it is supposed to look quite bad, but Michael Jai White owns the screen when he is in view and his performance is superb - if this isn't his proper breakthrough film, then there's no justice. As well as delivering acres of inane dialogue, he also gets some of the best shots, probably the funniest being the long diatribe against The Man whilst the boom mic is within shot. White doesn't miss a beat with this rather over-dramatic speech but tries in vain to bring the intruding boom mic to the attention of his director with his eyes. It's superb and on a par with Leslie Nielsen at this best.

I've watched this twice now and it's gets better with repeated viewings, this is definately one of the best films of its type that I have ever seen and wipes the floor with other recent films that have attempted to lampoon different genres. This is in a league of its own. Superb stuff.

Recommended.