Some of the more explicit Blaxploitation films do not make the most common themes of these kinds of movies central to the plot. The best of them nod at the traditional issues that abound in black exploitation movies, mostly those that are made making use of things that surround the culture and society of African Americans. Unlike the general exploitation genre, however, this is does not have derogatory underpinnings.
There was a film released in 1972 that might have been so good as to have really defined the genre. This film was entitled Trick Baby, from the novel of the same name, written by a former African American pimp named Iceberg Slim. It is a novel that was intensely written, but the movie failed to be interesting enough in this way, watered down.
This movie is about two friends living and operating in Philadelphia, where they make a living deceiving people. The characters are called Blue Howard and White Folks, and being half white, folks could be somebody that is white. This fact helps them in their adventures to con people, and the movie is about their plan for their biggest con to date.
Of course racial dynamics propel the plot here, and these are mostly a given from a novel that was based on the real experiences of author Slim, a former pimp before he made bestselling novelist in the African American writing genre. These are delineated well enough in this film, although black men themselves who watched the central role of Folks were let down. Again, there was a lack of intensity and nothing of masculinity present in a half white character.
White Folks was born from the union of a prostitute and a white trick, hence the title. Since this accident of birth is the thematic focus of both novel and film, the story could have intensely examined the details behind it. However, the film went ahead with the classic need for Hollywood to have an easier subject to portray visually.
In this sense, the movie might be forgiven its being unable to really take advantage of the intensely dramatic idea of a biracial conman. However, no conflicts or friction arise from this, especially between Howard and Folks, and their relationship is mostly about the easier time they have of being able to get away with crimes. The cliched theme of black criminality was chosen above everything else.
Movies always tend to dehumanize a story so that the visual language becomes the moving element for any moviegoer. This defect is still present in modern entertainment industry, no matter the many new, great films that have supposedly transcended this lack. Mostly, the industry helps create movies that in the end only have that undercurrent of a hustle, a con that exploits the public.
The con being hatched by the two friends is nearly stopped on its tracks by the Mafia and a crooked cop. This twist is so cliched that most film goers can predict the ending, but even with critics howling, it is a thing beloved by producers. As with many features, the main point was overtaken by concerns about box office success in the end.
The director for the movie was Larry Yust, who soft focused the many things that could have made it unacceptable with the general public. This organism is a very sensitive one that also allows and condones so many blasphemies. The Blaxploitation film can be very discomforting, and so the elements that make it so are often taken out.
There was a film released in 1972 that might have been so good as to have really defined the genre. This film was entitled Trick Baby, from the novel of the same name, written by a former African American pimp named Iceberg Slim. It is a novel that was intensely written, but the movie failed to be interesting enough in this way, watered down.
This movie is about two friends living and operating in Philadelphia, where they make a living deceiving people. The characters are called Blue Howard and White Folks, and being half white, folks could be somebody that is white. This fact helps them in their adventures to con people, and the movie is about their plan for their biggest con to date.
Of course racial dynamics propel the plot here, and these are mostly a given from a novel that was based on the real experiences of author Slim, a former pimp before he made bestselling novelist in the African American writing genre. These are delineated well enough in this film, although black men themselves who watched the central role of Folks were let down. Again, there was a lack of intensity and nothing of masculinity present in a half white character.
White Folks was born from the union of a prostitute and a white trick, hence the title. Since this accident of birth is the thematic focus of both novel and film, the story could have intensely examined the details behind it. However, the film went ahead with the classic need for Hollywood to have an easier subject to portray visually.
In this sense, the movie might be forgiven its being unable to really take advantage of the intensely dramatic idea of a biracial conman. However, no conflicts or friction arise from this, especially between Howard and Folks, and their relationship is mostly about the easier time they have of being able to get away with crimes. The cliched theme of black criminality was chosen above everything else.
Movies always tend to dehumanize a story so that the visual language becomes the moving element for any moviegoer. This defect is still present in modern entertainment industry, no matter the many new, great films that have supposedly transcended this lack. Mostly, the industry helps create movies that in the end only have that undercurrent of a hustle, a con that exploits the public.
The con being hatched by the two friends is nearly stopped on its tracks by the Mafia and a crooked cop. This twist is so cliched that most film goers can predict the ending, but even with critics howling, it is a thing beloved by producers. As with many features, the main point was overtaken by concerns about box office success in the end.
The director for the movie was Larry Yust, who soft focused the many things that could have made it unacceptable with the general public. This organism is a very sensitive one that also allows and condones so many blasphemies. The Blaxploitation film can be very discomforting, and so the elements that make it so are often taken out.
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