Black Jesus

Just watched this on YouTube. The title was enough to get me to watch but unfortunately, I found myself half-bored because of the slow pace of getting from one scene to another. As a possible result, half of me didn't know what was going on or why. I guess this film wasn't for me since I expected some quick action and an exciting music score and maybe some campy dialogue. I guess what I'm trying to say is that this movie wasn't very exciting to me. Woody Strode does have a presence and I did feel sorry for him when he was tortured but other than that, I just wasn't very excited. I really can't think of anything positive about this film. So on that note, beware of what to expect from Black Jesus.

It's funny that one of the alternate titles for this film is "Super Brother"! "Super Brother"?! I guess they must have been referring to the iconic super-athlete-turned-actor Woody Strode and trying to sell this brilliant, Pontecorvo-esque Battle-of-Algiers-Queimada-Burn-like 1968 anti-colonialist political Italian film to a blaxploitation/spaghetti-Western/action-film crowd! Zurlini's film is definitely hardcore, violent, and has some action, but it is anything but blaxploitation; even with all its flaws it's one of the fantastic achievements of the politically committed 'Marxist' cinema of the period, at the very least, on the level of Pontecorvo's much more widely seen "Burn," starring Marlon Brando. Snobs and perfectionists may disagree with that assessment but real film fans know that imperfect, flawed films are often far preferable in every way to films that play by the rules and criterion set-up by bozo mainstream critics. "Black Jesus," and most of Zurlini's other films are underrated masterpieces that have slipped through the crack of history and are ripe for rediscovery. I thoroughly enjoyed all 8 of Zurlini's films screened at UCLA recently and would buy at least 6 of them on DVD tomorrow if they were available. All 8 of them should be put out on good DVDs, not cut-up pan-and-scan videos (and especially, "Black Jesus" because it was shot in 2.35:1 widescreen)!

One of the flaws associated with the film is that it was post-production dubbed in the typically bizarre sounding Italian style of that era but to me that's not a big problem: the film itself being intentionally played slightly 'over-the-top' this 'aural distancing' only adds to its surreal, dreamlike, hypnotic, and totally flabergasting power. "Black Jesus" is a dramatic re-creation of events that actually happened (again like Pontecorvo's "Burn"), though the names and locales have been changed to wisely avoid accusations of historical innaccuracy with regard to details. The entire film has one major purpose: to put you in direct contact with the brute facts of colonialism and make you very mad that injustice goes unpunished, and it uses parable to drive its point home. The long, meditative, almost Antonioni-paced prison conversation between Strode and his unlucky knave of a cell-mate as he awaits the sure to be bleak fate of one who doesn't compromise with tyrants, sets up one of the most harrowing and shattering torture scenes in cinematic history (harder to take than anything in Midnight Express or Reservoir Dogs). Not one inch is granted to audience sensitivities and conditioning and their need to have 'escapist' entertainment; the entire film is completely uncompromised, bleak, hard-to-take, powerful, and in the final analysis, a truly awesome achievement that transcends all its flaws.

Little known but terrifically effective Italian film originally titled "Seduto all sua destra" ("Seated at His Right"), but retitled in the US "Black Jesus" to take advantage of the blaxploitation film trend of the 1970s, this is not remotely a blaxploitation film. Former athlete-turned-wonderful-actor Woody Strode (best known for "Spartacus," "The Professionals," and "Sergeant Rutledge") has the most prominent role of his career as a thinly disguised Patrice Lumumba, the charismatic revolutionary of the Belgian Congo. Generally described and reviewed as a highly political film about the Belgian (and other European) exploitation of Africa, in reality this film has (maybe unintentionally) a simpler meaning at its heart: the contrast between love and cruelty. Yes, the film pits primarily "evil" Europeans against almost exclusively benign Africans. Yes, the Marxist inclinations of the filmmaker (Valerio Zurlini) are quite evident. But taken at face value, there is much less in this film about politics than there is about how casually some men can be cruel--terribly cruel--and how central to the core of what it means to be human love and mercy are. From that viewpoint, what many have pointed out as heavy-handed Christ symbolism (and it is blatant) is not so much a political point as it is a poem about the kindness that can be found in the human heart even in the most degrading circumstances. Woody Strode (even in the dubbed version) is amazing, not only for his stunning physical presence (anyone who saw his gladiator fight with Kirk Douglas in "Spartacus" knows what I'm talking about), but for the humanity that bursts from the screen whenever he is in view. This is not a film without flaws (especially in the version easily available), but it's a wonderfully effective film despite those flaws, and presents far more in a simple way than at first meets the eye.