Ganja & Hess

GANJA AND HESS is indeed an offbeat film. It is interesting, because of it not wanting to be just a blaxploitation film of the seventies, but it has a looseness which often makes it wander around too much.

Otherwise it points its finger to African culture, which is a great theme that could be investigated more often.

Duane Jones is fascinating as ever, even he's made only so-and-so-much films. I originally came to see GANJA AND HESS because of Duane Jones' great performance in NIGHT OF THE LIVING DEAD.

There are others that can talk about the symbolism in this film much better than I can. It was made for Black audiences, and I certainly won't try to describe what director Bill Gunn was trying to say.

This film effectively ended Bill Gunn's short career. He was supposed to make a Blaxploitation film like Blacula. He failed his producers by making an art film, which they chopped up and released under another name. This is the fully restored film with an amazingly beautiful score by Sam Waymon.

If you are looking for horror or blaxploitation, you came to the wrong place. This film was shown at Cannes - the only American entry that year - and received a standing ovation.

Many comments on this film from other users implicitly take on a perspective not unlike that of the producers who severly cut the film before its theatrical release because they expected it to be a more conventional blaxploitation horror film. It is neither blaxploitation nor horror, but instead one of the few (only?) examples of an independent African-American art cinema from the early '70s. It may be flawed, but it is also an incredibly ambitious, challenging film. If you are a fan of Shaft, Superfly, et. al., you may not like this one; if you are a fan of Bergman, Bunuel, or Antonioni, you should check it out.

There was a time when film was slower. Shots were longer and cuts were considered an interruption. Ganja and Hess is of this era. Before you say anything, realize that image means a lot in cinema. Just the amazing imagery and in-depth account of black life without the white gaze make this an important film. The rich world of Dr. Hess unfolds with African connections, the church, and the street all make for a pioneering film with complete disdain for established norms. As a student of black cinema this along with Bush Mama and Killer of Sheep are simply must sees. For the second wave see Daughters of the dust, Dead presidents and Sankofa. While it is no night of the living dead it is an import stop in the history of the horror genre.

Ganja & Hess (1973)

** 1/2 (out of 4)

Dr. Hess Green (Duane Jones) is stabbed with an ancient dagger, which transforms him into a vampire always in need of blood. After the suicide of his assistant, the man's wife Ganja (Marlene Clark) comes to the home and soon she and Hess have a strange relationship building. Legend has it that director Bill Gunn was hired to turn in a blaxploitation film like BLACULA but instead he came back to the producers with this bizarre, surreal art-house film and it pretty much destroyed his career. The studio cut the film down to 78-minutes to try and make it sell-able but I was able to see the uncut 110-minute version. This is a hard film to judge because there's no question that it comes up well short of being a good movie but at the same time you really have to respect Gunn for trying to do something artistic and not just deliver some sort of drive-in trash that would have played at four in the morning. Of course, by doing a picture like this its appeal is going to be very limited but even though the flaws I think there's quite a bit of stuff to enjoy here. There's no question that Gunn has created a wonderfully dark atmosphere. This can be seen from the opening shots to the closing one. Gunn, who also wrote the screenplay, wants to make sure you never fully understand what's going on. Bits of dialogue flow that seem to have nothing to do with the film. We get scenes shot so strangely that you're more focused on how they were shot instead of what's going on. We even get a few additional characters that pop into the story and other strange bits like a wedding scene and a drawn out sequence inside a church. If you're expecting blood and horror elements you're going to be disappointed because both of those things are very small and don't have much of an impact on the film. The visual look is something very impressive as the cinematography really adds to the atmosphere. The way the film is edited is another major plus. Then we have the two lead performances. It's somewhat shocking to see that this was Jones first film since the release of NIGHT OF THE LIVING DEAD five years earlier. I always wondered if his wonderful performance in Romero's classic was just a fluke but after seeing this film it obviously wasn't and it's a real shame that he didn't appear in more movies. Jones is extremely good in the part of the haunted doctor and it's one of those performances that requires very little dialogue. You can tell what emotions the doctor is going through just by looking into the eyes of Jones. I was really surprised at how well he could play this haunted soul but he pulls it off. Clark is also extremely good in her part able to play the overbearing witch but also the alternate moments of her character. GANJA & HESS is a really odd little movie and it's not going to appeal to most but if you enjoy weird and different bits of work then you might find it interesting.