The Black Gestapo

One of the many blaxploitation with the title prefix Black... (...Samurai, ...Caesar, ...Aphrodite), Gestapo also manages - rather uncomfortably - to incorporate the iconography of Nazism, bringing another of the popular sub-genre's of the exploitation market, that together make nazi-blaxploitation. "The People's Army", a vigilante group headed by General Ahmed (Rod Perry), are set up in Watts to protect black citizens in the inner city. After they run a white criminal organisation from the community, second in command Colonel Kojah (Charles Robinson), breaks the group in the middle to form his own, more fascistic group, indulging in money-making activities such as drug dealing, and orates for more direct, violent action.

Writer-director Lee frost (along with co-writer-producer Wes Bishop), has obviously, and incredibly insensitively, misinterpreted the black power movement in the late 1960's/'70's - particularly the Black Panthers - and presented it with Nazi iconography. It's an uncomfortable juxtaposition to see a group of black men congregated on a ghetto basketball pitch, dressed fully in the garments of the most vilified, ultra-racist political movement of the twentieth century. Why exactly would anyone (but particularly an ethnic minority), take on this most instantly recognisable of images?

There does seem to be an attempt to perhaps represent the opposing views of the two major iconic black figures of the 1960's. In Ahmed we have the message of non-violent protest from Dr. Martin Luther King Jr., whilst Kojah's view of violent actions mirrors the philosophy of Malcolm X, and his pronouncement of using violence in self-defence. But maybe I'm just reading into something that's not actually there. When the film isn't insulting its audience, it displays nothing new to an already lagging genre, and simply presents generic tropes: Blaxploitation was always criticised for perpetuating racial stereotypes, but this film could indeed be guilty of far more. With a series of scenes-we've-seen- before, such as the castration of a white man, after he raped a sister, the film also uses the contemporary necessities such as soft female nudity. Action scenes are played out with little excitement or even much vigorous movement, which along with the amateurish film making makes this film a totally dull squib. So... Hardly the "New Master Race," instead simply insulting to anyone who watches.

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In spite of the conspicuous title, controversial subject matter and the use of provocative archive footage (starring Adolf Hitler), "The Black Gestapo" is not much more than a curious footnote in the rancid world of 70's exploitation. The nearly inseparable writer/director duo Lee Frost and Wes Bishop courageously attempt to depict how immense power will eventually corrupt everybody, even those of whom you least expect it. General Ahmed founded the People's Army in order to protect the black members of the Watts community from mafia thugs, and he dreams about a society of peace and harmony as imagined by Martin Luther King. His second in command Colonel Kojah, however, sympathizes more with the principles of Adolf Hitler and insists on fighting back with hard violence. Kojah's methods expel the white criminals all right, but the ever-increasing power rapidly turns him and his men into even bigger monsters then the white mobsters ever were. "The Black Gestapo" probably would have been far more effective if the creators had spent a little more effort and attention to the black vigilantes' gradual descent into madness. Loads of playtime is spent to the white Mafiosi nagging and acting stupid, whereas the founding of the Black Master Race appears to suddenly happen overnight. Kojah and his rapidly growing army of young black solider take over the prostitution networks and drug traffic, and it's up the still unaware General Ahmed to bring his old pal's empire down again. This is a typically 70's low-budget exploitation effort, meaning there's copious amounts of gratuitous nudity and provocative footage, like adolescent black boys in Nazi uniforms. The noteworthy moments of genuine suspense and intelligent dialog are far more sporadic, of course, not to mention totally absent. The finale, revolving on one man annihilating the entire foundation, is pretty ludicrous and feels like an amateur episode of "The A-Team". Uschi Digard, the voluptuous Swedish cult siren of "Supervixens" and "Truck Stop Women" makes a brief naked appearance; I suppose that's worth a mention as well.

Hmmm, I bought this flick for $1.99 in the used bin at a local video store, that being said, I don't think I wasted the money.

It's pretty indicative of the Blacksploitation ouevre. Highlights include Mack from Night Court as a militant terrorist and would be ghetto fuhrer, nekkid women for no good reason, and fight scenes that look like guys rough-housing on their lawns after a few too many, (if you know what I mean,).

It's not a great exploitation flick, it's not a horrible exploitation flick, best viewed with a few cold ones and some buddies. Peace.

Well, the version of this film that I own comes in a 4-pack of Black Vengance, found at Best Buy's bargain movie bin, it contains other genere winners like Black Fist 2, and The Black Six. Its a re-release of the material originally done in the early 1970s firmly rooted in the black power social movement, utilizing the film Blacksploitation title with liberty.

The film its self runs something like 90 minutes, contains several scenes of pointless nudity, poorly coreographed violence, and multiple overdubs of Hitler-era Germany. Language is also a mix of obscenities and jive-lingo. Children really shouldnt see this movie until they are old enough to understand the historical context that produces it.

It centers around General Ahmed's creation of a Black People's Army [read: Brownshirt revolution], that aims to end the gross injustices exercised on the local black populace by a half-assed white 'mob,' interested in extortion money, and beating up prostitutes. After a black nurse is raped by the 'mob', Col. Kojah enters to recruit a special black response unit of commands that begin extracting militant revenge on the white community. Soon after, Kojah's group overpowers everything else Ahmed's ideas stand for, and the Black Gestapo militant unit superceeds it. Most of the movie then focus'es on Kojah's unit [read SS], bedecked in the finest Nazi wears [yes, explicitly done], and the struggle of pressure versus resistance to impose societal justices.

Several themes are somewhat interesting, including the increased violence towards women by both repsonse units, the characterization and sexuality of the women [with unnecessary nudity and sex scenes] as well as a theme of mans' degenerative nation, once given a sip of power. All in all, I'd never pay money to see this in a theater, but for comedic relief it is quite funny. Several social issues can be extrapolated, and I could see how the political/social movement of the times had strongly impacted the final version of the film. Even the end of the film, culminating in the assination of Kojah's soldiers and he himself, appear to summarize the views of the then powerful movement that was destined to implode.

This film begins with some black men forming a group known as "the People's Army" with the intention of helping the citizens in their local community of Watts. To do that their leader, "General Ahmad" (Rod Perry) has set up a medical clinic and a food store with a grant of money given to him by the governor of California. However, when some local white gangsters harass many of the people and eventually rape his girlfriend "Marsha" (Angela Brent) he finally concedes to the demands of his second-in-command "Colonel Kojah" (Charles Robinson) and allows him to set up a small security force to protect the community as well. What General Ahmad doesn't realize, however, is that Colonel Kojah has a totally different agenda in mind and it is the exact opposite of the peaceful direction for which the People's Army was initially intended. Now rather than reveal any more I will just say that this movie was produced during a time when Blaxploitation films were increasingly popular. Some were good. Others--like this particular one--not so much as the script was extremely weak, the acting was poor and some of the scenes bordered on the ridiculous. That said, those familiar with this sub-genre might get some enjoyment out of this picture but even so it's not something that I would recommend and I have rated it accordingly. Below average.