Films in the Blaxploitation genre can have unusual or common themes central to their plots. But often, and with the best of them, they usually nod at issues that are traditional elements of African American societies. These are different from usual exploitation films, which tend to be very derogatory about its subjects.
There is one film that might have risen above the rest, as differentiated by the common run of movies here. The film in question is Trick Baby, released in 1972, with a story taken from the novel of a famous black author named Iceberg Slim. The novel is really a very moving tale about African gangsters, something the feature was not able to be.
The movie is about the relationship between two black male con men who are planning their biggest con. These are Blue Howard and White Folks, hustlers working in Philadelphia, the latter being half white and therefore could pass for a white man. This is central to all their cons, and also their ace in the con that they are planning.
The dynamics of race propels this story, but these can be obvious enough because it is based on experiences for Slim, an ex pimp who made it by selling lots of his books about the African underworld. The delineations are made for those the characters, but the actual performance by Folks was very much of a let down for many African males. The intensity was not there, and Folks played white without giving much focus on their being black and why.
Folks is a product of the mating of a white man and a black prostitute, and so it became the title. It is an accident that is a focus in both works, but critics said that the book was very intense while the feature was not quite there. But then the production just went with the need for Hollywood products to work with easier subjects for film.
In this regard, this feature can be explained, because to intensify or deepen the focus on Folks would have made some people squirm. With the lack of honest friction or real issues about racial conflict, the movie went on to become a somewhat feel good crime movie that dissolved the issues out of hard focus. The theme of black crime might have been well told, if not for the way the focus became the driver for the film.
Films from Hollywood will tend to be dehumanizing, concentrating more on great visuals than focusing on the story elements. This defect is something that is still present, and so whatever films there are that are found meritorious in a story sense will not end up successful, in comparison to those that tend to con people.
The said plan by the protagonists is nearly derailed by a man with Mafia connections they victimized before. The twist is a classic cliche that happens before endings, something that critics have to howl about, even as the producers will go with it in the end. Maybe there was the idea to provide impact for the film in the box office sense all the time.
Thus, director Larry Yust thought it best to soften blows made by the story itself to be more acceptable to the general public. This is one organism that has an oh so sensitive stomach while allowing blasphemy to be its constant companion. And black experience is too much of a punch in the gut that it needs watering down.
There is one film that might have risen above the rest, as differentiated by the common run of movies here. The film in question is Trick Baby, released in 1972, with a story taken from the novel of a famous black author named Iceberg Slim. The novel is really a very moving tale about African gangsters, something the feature was not able to be.
The movie is about the relationship between two black male con men who are planning their biggest con. These are Blue Howard and White Folks, hustlers working in Philadelphia, the latter being half white and therefore could pass for a white man. This is central to all their cons, and also their ace in the con that they are planning.
The dynamics of race propels this story, but these can be obvious enough because it is based on experiences for Slim, an ex pimp who made it by selling lots of his books about the African underworld. The delineations are made for those the characters, but the actual performance by Folks was very much of a let down for many African males. The intensity was not there, and Folks played white without giving much focus on their being black and why.
Folks is a product of the mating of a white man and a black prostitute, and so it became the title. It is an accident that is a focus in both works, but critics said that the book was very intense while the feature was not quite there. But then the production just went with the need for Hollywood products to work with easier subjects for film.
In this regard, this feature can be explained, because to intensify or deepen the focus on Folks would have made some people squirm. With the lack of honest friction or real issues about racial conflict, the movie went on to become a somewhat feel good crime movie that dissolved the issues out of hard focus. The theme of black crime might have been well told, if not for the way the focus became the driver for the film.
Films from Hollywood will tend to be dehumanizing, concentrating more on great visuals than focusing on the story elements. This defect is something that is still present, and so whatever films there are that are found meritorious in a story sense will not end up successful, in comparison to those that tend to con people.
The said plan by the protagonists is nearly derailed by a man with Mafia connections they victimized before. The twist is a classic cliche that happens before endings, something that critics have to howl about, even as the producers will go with it in the end. Maybe there was the idea to provide impact for the film in the box office sense all the time.
Thus, director Larry Yust thought it best to soften blows made by the story itself to be more acceptable to the general public. This is one organism that has an oh so sensitive stomach while allowing blasphemy to be its constant companion. And black experience is too much of a punch in the gut that it needs watering down.
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