A sinister, neurotic white girl Lula, with the provocation of her lovely, half-naked body and of her startlingly lascivious speech, lures to his doom a good-looking young black man Clay, a ... See full summary »

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(play) (as LeRoi Jones), (screenplay) (as LeRoi Jones)
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Cast

Cast overview:
...
Lula
...
Clay
Frank Lieberman ...
Subway rider
Robert Calvert ...
Subway rider
Howard Bennett ...
Subway rider
Sandy McDonald ...
Subway rider
Dennis Alaba Peters ...
Subway rider (as Denis Peters)
Keith James ...
Subway rider
Devon Hall ...
Subway rider
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Storyline

A sinister, neurotic white girl Lula, with the provocation of her lovely, half-naked body and of her startlingly lascivious speech, lures to his doom a good-looking young black man Clay, a stranger whom she has picked up in the subway and whom she mocks for wearing the clothes and employing the voice and manners of the conventional white intellectual. The man, who, at first seeing no reason to resist the girl's advances, perceives too late that he is being used by her, drops his "white" disguise, and launches a wild and bitter counterattack on her and on the entire white race. Written by alfiehitchie

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Drama

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Release Date:

July 1967 (UK)  »

Also Known As:

Il treno fantasma  »

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(RCA Sound Recording)
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Did You Know?

Trivia

The film played in the U.S. in 1970 as a co-feature with The Battle of Algiers (1966). Played The Loz Feliz on Vermont. See more »

Goofs

Lula's hair and makeup vary wildly from shot-to-shot, even though story takes place entirely during one subway ride. See more »

Connections

Featured in Changing Stages (2000) See more »

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User Reviews

Subway Politics
27 June 2004 | by (Huntsville, AL, USA) – See all my reviews

Strange, allegorical drama about the struck-up-on-the-spot relationship between two passengers in a New York City subway car: a black man (Al Freeman Jr.) and a white woman (Shirley Knight) flirt with each other and engage in adult banter. As they alternately beguile and exasperate each other, their conversation reflects the sexual and racial tensions between them. The film is set entirely in the subway car, making for a claustrophobic atmosphere. Knight overacts some of the time (ok, a LOT of the time), laughing loudly, rolling her eyes, and touching Freeman in places where the NYC Transit Authority would probably prefer its patrons to not be touched, but she's never less than interesting and Freeman's more-subdued performance balances things out (although he gets to deliver a blistering, angry monologue near the end). DUTCHMAN's shocking climax is a disturbing culmination of the provocative racial and social themes presented in the film; the film's hour-long length allows for these ideas to have immediate impact.


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