“Bamboozled,” a film by Spike Lee, is a thought-provoking satire that screams for change, not only in the African American community, but in U.S. society.
Lee is known for his unusual camera angles and controversial themes, and “Bamboozled” may be the most controversial yet.
The story follows young African American writer Pierre Delacroix (Damon Wayans), whose attempts to sell his television company on pilot shows involving black middle class families have all faltered.
His boss, Dunwitty (Michael Rapaport), a white man obsessed with black culture, approaches Delacroix and tells him to either produce a hit or hit the road.
Delacroix, along with personal assistant Sloan Hopkins (Jada Pinkett-Smith) contrives a plan to put an end to the lack of intelligent black faces on television by putting his show’s characters in blackface.
The pair creates “Mantan: The New Millennium Minstrel Show.” They take street performers Manray (Savion Glover), a tap dancer, and Womack (Tommy Davidson), his sidekick, and transform them into the characters Mantan and Sleep ’n’ Eat.
Blinded by the idea of money and superstardom, Mantan and Sleep ’n’ Eat tap dance and sing their way onto people’s television screens and into their hearts. With a staff of all white writers, the ratings begin to soar, audiences become more comfortable with “Mantan: The New Millennium Minstrel Show” and they arrive at the taping in blackface.
In addition to acting in blackface and taking place in a watermelon patch, the television show makes references to chickens, monkeys and even has a live band, the Alabama Porch Monkeys, played by hip-hop band the Roots.
Commercial spots for the television show aren’t hard to come by: “Da Bomb Malt Liquor” and “Timmi Hillnigger” shared the limelight.
The film touches on almost every stereotype associated with black people, even when describing the black, not so militant group Mau Mau, whose presence in this film is just as important as Mantan and Sleep ’n’ Eat.
Reaching back into hip-hop’s past, the Mau Maus, whose harsh beats complemented by pro-black lyrics are reminiscent of Public Enemy, adopt Mantan. The group lacks a cause, so the members look to him and the show as a reason for black people’s downfall.
As admirable as it may seem, the Mau Maus tote guns, drink Da Bomb and smoke marijuana, thus promoting some newer stereotypes associated with black young men.
Meanwhile, Delacroix is having a hard time dealing with the new show. Because the show catapulted his career, Delacroix has a responsibility to it, but he hates everything the show stands for and its representation of him and other blacks.
Davidson and Wayans step out of comedic character to play serious roles. Although “Bamboozled” has a comedic nature, the movie is a drama. Glover and Mos Def (Big Black Africa of the Mau Maus) stand out as pivotal actors in the film.
Lee explores many facets of black life in this movie as an attempt to examine the psyche of both blacks and whites.
As controversial as it may seem, the movie is just the wake-up call the country needs. The idea that “Mantan: The New Millennium Minstrel Show” can survive in the 21st century may seem far-fetched, but the days of Step ’n’ Fetch It are not too far behind.
