Slam/Bamboozled

Now, here are two films I remember watching many moons ago, and for some strange reason was compelled to watch again. Of both, I remember slightly unusual techniques and styles, feeling more like home movies than big-budget films. But, neither is particularly big-budget; both controversial in their own way and quite experimental, designed to create emotion more than they are to entertain. Both, therefore, are not great films, but interesting ones nonetheless, perhaps not fully getting their ideas across, but based on good ideas.

Starting with ‘Slam’, we see young Raymond Joshua living in D.C., working as a small-time drug dealer, occasionally writing the odd verse of poetry. Caught in a gang-land shooting, he sees himself arrested and trapped with the choice of going to prison or going to prison on a drug possession charge. Angered and frustrated, he again finds himself trapped in the middle of a gang dispute in prison resulting in him letting out his grievances in the form of poetry in the prison yard.

Slam

If you like, ‘Slam’ is a musical; not so much a film, but a vehicle to showcase the talents of the cast as poets and emcees. Much of the cast are poets and/or rappers appearing in a debut acting role, or one of their few and had a big hand in the writing. Saul Williams plays the lead role, with Sonja Sohn (that ‘dyke cunt’ from ‘The Wire’), Bonz Malone and Beau Sia taking up supporting roles, among others. The acting and story, therefore, are never fully polished, with writer/director Mark Levin known more for his documentaries than feature films.

The story moves on a little too quickly in parts and character motivation is not always fully explored, beyond William’s character. But with the low-budget feel, this has that trapped-in-time quality, feeling isolated from the rest of the world. There is nothing Earth-shattering here, but some interesting social comment and, at times, powerful performances.

Spike Lee’s ‘Bamboozled’ is a satire of modern television and what those watching the ‘idiot box’ have come to expect on the small screen. Damon Wayans plays Pierre Delacroix, a sit-com writer criticised by a ‘more black than black people’ network executive for writing shows that are ‘too white,’ featuring ‘white people with black faces.’ Pushed to deny the existence of a middle-class African-American, Delacroix works to create a show so ‘black’ as to shock America into realising the stereotypes that are portrayed on every day television. Ticking-off every racial stereotype imaginable, he creates ‘Mantan: The New Millennium Minstrel Show’.

Bamboozled

Amazingly, the show is a success, working only to further stereotypes rather than destroy them; leaving Delacroix viewed as a sell-out. Success and fame are predictably the downfall of those involved resulting in tragedy.

‘Bamboozled’ is an interesting film for Lee to have made at the time; rising in his career and choosing to make a film that is quite low on a number of things. To start, the cast is low on out-and-out actors – and you can include Damon Wayans and Jada Pinkett-Smith within that – using rappers and comedians in many roles. It is also a film low on any nice Hollywood gloss and sheen – an effect probably desired considering the subject matter. The one thing it is high on is camera numbers, using numerous handhelds to take shots from various angles, such as audience reactions to a new breed of minstrel show. This creates a claustrophobic and documentary-like feel to the film.

Bamboozled

But being a satire, the film is more about the point it is trying to make; the use of footage from old television and film portrayals of African-Americans throughout and montaged at the end highlighting this. References are made to various moments where art and politics have collided, as well as using real-life figures vocal in such areas.

But ultimately, ‘Bamboozled’ ends up a little messy in final execution. The lack of any real acting talent leaves performances a little wooden, as well as the characters they portray a little too extreme, notably the Mau Mau, led by Mos Def, who feel a little unrealistic despite Mos Def’s usually charismatic onscreen performances. A little too much can be rammed down your throat at times, with all imagery and dialogue geared towards one thing.

Bamboozled

Neither ‘Slam’ nor ‘Bamboozled’ will ever be regarded as great films, nor will they probably be remembered by many. But both are interesting examples of more creative film-making. Big budget effects, state-of-the-art camerawork and even actors are not required, as long as the film is based on a strong idea and purpose. They are portrayals of writers, trapped in different situations as they struggle to overcome stereotypes, relying on the talents of their non-acting casts. Well-executed at times or not, both still offer more than the endless big budget sequels and re-makes that make-up the majority of box office takings.