This Spike Lee film examines the life of an aspiring actress in New York. She is upset by the treatment of women in the movie industry during one of her screen tests with 'QT'. Out of work ... See full summary »
Dark, biting satire of the television industry, focusing on an Ivy-League educated black writer at a major network. Frustrated that his ideas for a "Cosby Show"-esque take on the black family has been rejected by network brass, he devises an outlandish scheme: reviving the minstrel show. The hook: instead of white actors in black face, the show stars black actors in even blacker face. The show becomes an instant smash, but with the success also come repercussions for all involved. Written by
N. Cognito <nobody@noplace>
The names of two characters are based on real performers of the past. "Mantan" came from Mantan Moreland and "Sleep 'n' Eat" was based on Willie Best, who was sometimes credited only as "Sleep 'n' Eat" in early films. See more »
You ain't seen no niggers on the fiddle. No niggers on the fiddle like this. You ain't seen no niggers on the fiddle no niggers on the fiddle like this.
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The opening credits for the film roll at the end. See more »
For the most part, Spike Lee is an angry filmmaker and I cannot blame his anger nor do I criticize it. With films such as Do the Right Thing and Jungle Fever, he shows his passion and understanding of situations such as racial feelings between all races, not just whites and blacks as well as how outsiders view interracial relationships. Here, his target is the entertainment industry, specifically television and he cuts right to the core because he knows how important and complex this issue is and wastes no time of this 135-minute film to stuff every frame and scene with a message and relating what he has seen in this country and how he feels about it.
First off, the acting is near flawless. Damon Wayans gives his best performance ever as Pierre Delacroix, a successful producer upset that he is not considered black with his fancy dress and white accent. Determined to make his case, he decides to create a minstrel show very much in the vein of those from the 1930s and 40s. However, he goes one step further and hires black actors to use blackface makeup as well as make the subject and setting the most politically incorrect setups imaginable. What he doesn't expect is the overwhelming popularity of the show complete with huge ratings and numerous critical awards.
For my money, Lee almost had a great film here. The first hour is terrific, biting satire, attacking everything and anything. Lee takes no prisoners and also gives some very interesting bits about how a TV show is brought to life. But, once the show becomes a success and the people involved develop consciences, Lee's vision narrows and soon it becomes more of the angry and socially-aware Spike Lee we've seen in much better films. Being white myself, I never liked how Lee seemed to portray whites as leering fools and the true ignorant people of America as opposed to the "more commonly accepted" view of blacks. Still, his feelings were justified in Do the Right Thing, Jungle Fever and earlier works. Bamboozled tries too hard and loses its mission towards the end. The end is in fact a rehash of many other movies seen before, even ones self-consciously referred to here such as Network and The Producers.
Spike Lee is a gifted and fearless director and I cannot say this is a boring or uninspiring film. I was held captive every step of the way. I just wish he had picked a better and more effective way to satirize his subjects, as well as maybe broaden the horizons; only then could it really take root.
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