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'Black Snake' marked Russ Meyer's return to self-financed independent movies after short contract with 20th Century Fox which spawned two films. 'Black Snake' was also Meyers only experiment in Blaxploitation subgenre and it served, as the author himself said, his statement film about racial bigotry. But returning into independent film territory didn't mean return into top form. 'Black Snake' stays far behind from Meyer's best works. The film is not unwatchable as Meyer's energetic directing style and dynamic editing helps to carry the movie along with vigorous pace.

Shot in location of Barbados 'Black Snake' tells a story that takes place in 1835 at the time of colonial slavery. Charles Walker (David Warbeck) travels to San Cristobal Island to search his missing brother Jonathan. Posing as a bookkeeper, Charles arrives at Blackmoor Plantation ruled by disgustingly cruel and ruthless mistress Lady Susan (Anouska Hempel) who loves to torture men (white and black). Small clues are starting to point that Lady Susan who was briefly married to Jonathan might have killed the man.

Gorgeously photographed trashy period film about slavery that definitely offers some thrills to the fans of director and the genre.

I had watched every Russ Meyer film I could rent in chronological order from an underground video store in preparation for a screening of "Faster Pussycat" at Film Forum, where I worked at the time. There were probably a couple titles unavailable, but I saw pretty much all of them. My feminist roommate hated them, because many of them seemed to glorify and sexualize violence against women--something I am very strongly against. My argument, however, is that all the characters in Meyer's films are awful, the men and the women, which is what makes them so campy and over-the-top melodramatic. I grew to love the rhythms of his editing, which were genius and signature, and his delicious, stylish cinematography. When I got to this film, my entire attitude toward him changed. With one film, he proved himself to be a true cinematic master and auteur. Black Snake is visually stunning, terribly disturbing, powerful, and a tour de force. I actually asked Meyer about a DVD release (he personally answers the phone at his office), which I felt was a great compliment to the quality of this film. He seemed annoyed by the question. I hope he changes his mind and offers this on DVD. It's a great work of cinematic art.

If you can make it thru "classic Meyer" titles/intro, you can wade thru anything. But would you want to? I did not find a lot there to dig my teeth into. I suppose if you go into it with low enuff expectations you will be delighted (a la Charlie's Angels.) But for my money I'd like a little something more, more visual, more moving. More. I feel like I'm begging for gruel @ the foot of the master . the mans got the goods . but he just won't share.

Made one year before ILSA, SHE-WOLF OF THE SS, BLACKSNAKE could have easily been called SUSAN, SHE-WOLF OF THE PLANTATION and it probably inspired the producers behind the Nazi sexploitation epics to go ahead with their more infamous films because the stories are identical: a gorgeous, horny, head strong (but stupid) blonde woman degrades and kills many people under her control, whom all hate her and want her dead. Sounds familiar? Director Russ Meyer and David Friedman, the producer behind the ILSA flicks, are good friends and they started their careers together. So, obviously, there's a connection there. Looking at BLACKSNAKE, I can't help but think that Russ Meyer wanted to move on and do something else than his typical busty women epics because XXX movies were all the rage during the mid 1970s, and Russ Meyer films, though filled with nudity and kinkiness and violence, were never even close to real porn. His films started to look positively quaint next to DEEP THROAT and other hard-core porno blockbusters. Meyer knew he couldn't compete with such films and BLACKSNAKE is sorta the end result of such a quandary in his career. He obviously wanted to branch out into different uncharted territory. But BLACKSNAKE bombed at the B.O. and Meyer quickly returned to making VIXEN type of films that, even if they still weren't pornographic, they were most definitely more over-the-top than any of his previous films.

It's no wonder BLACKSNAKE was a B.O. failure. It's just terrible. Trash-o-rama. Jaw-droppingly bad. It's a quasi-campy take on slavery, if you can imagine that. The end result is jarring. One minute, we're in typical Meyer territory: exuberant, playful and silly, and then the next minute, super serious meditation on slavery and violence. Huh? It just doesn't work. The slavery/racism aspect is woefully mishandled and veers this movie in the true exploitation category. But BLACKSNAKE is not as sleazy as ILSA SHE WOLF OF THE SS and those kind of films, so I imagine fans of the latter were disappointed by it, which would explain the almost lack of interest in this movie from either exploitation fans or Russ Meyer fans. Meyer blames the failure of BLACKSNAKE because, and I quote, "It didn't have enough breasts in it." Well, I'm sorry Russ, but the film is just bad, breast or no breasts. But he's right though about the low breast quota. Except for Anouska and the maid, the film's cast is male. Meyer replaces his usual bevy of buxom babes with throng of hunks with massive pecs, in the form of anonymous black actors playing the slaves and the big David (Darth Vader) Prowse. And with Anouska's right hand man around, who is portrayed as a ruthless but clever gay man who enjoys the power he has over the men, one can only wonder what Meyer was really trying to create here.

BLACKSNAKE stars David Warbeck, who is lusted after by Anouska and her right hand man. Poor David. He looks totally befuddled by the whole experience. He did seem to have fun making the movie but you can clearly see that, at times, he has no idea what's going on. And then there's Anouska Hempel. She's a beautiful woman...for the 1970s, not the 1870s. With her makeup and hair, she looks like a typical 1970s Brit pin-up babe than a turn of the century dominatrix. And her wardrobe is hilarious. At one time, she actually unzips her leather boots! I didn't know they had zippers in those days. But the character she plays is, in itself, really degrading (no pun intended). She's nothing but a cipher to the object of lust and scorn of every men (and that woman) on the island. For example, one night, when David and Anouska are getting it on, her annoying slave driver walks in the room, knocks David unconscious and tries to rape her, groping her savagely. The next day, the slave driver is still working for Anouska and the two act as if nothing had happened. It's totally ludicrous. Under any circumstance, had her character been a real person, Anouska would have whipped the slave driver senseless and kicked his butt off the island. Or even killed him. But the fact that the woman keeps him on her plantation after he tried to rape her is stretching the flimsy story and characters' credulity to the max.

Ridiculous details like this, and the thoroughly startling blaxploitation angle makes BLACKSNAKE a strangely unpleasant but watchable movie. Watchable in the train wreck variety. I just couldn't help but watch the film for the utter baseless aspects of it all (the excellent cinematography sorta makes it easier to watch). So, this being an exploitation film, I guess it succeeded in doing what it was supposed to do. But BLACKSNAKE is mainly for Russ Meyer completists.

Black Snake is a film that is somewhat hard to categorize. Despite being a Russ Meyer film, it doesn't have enough nudity to be a bona fide soft-core romp. While it sometimes tries to be funny, it doesn't have nearly enough humour to be a comedy. Even though it's about the evils of slavery, it's just not serious enough to work as a drama. While there are quite a number of scenes of violence, it never builds up any tension to make it a thriller. And irrespective of the exotic location, there is no adventure element to the narrative either. Black Snake is definitely, however, an exploitation flick. Taking the above into account, it really is very difficult working out what exactly Meyer was attempting to achieve with this film. At times he seems to be presenting the story about the atrocities of slavery absolutely straight but at others he most certainly isn't. It's not hard to see why this film struggled to find an audience – it doesn't really seem to be aimed at anybody! One thing is for sure though, like many early 70's productions it certainly seems to have one foot in the blaxploitation bandwagon. Although it's difficult to see that particular genre's core audience getting much out of this flick.

The key elements of Black Snake seem to be harsh racist language, bloody violence and a (very) little bit of nudity. The storyline is unremittingly grim, with a group of nasty individuals lording over a slave colony – a sexy female plantation owner, a thuggish Irish foreman and a black enforcer. An accountant travels to the island under a false name to try and find his brother who disappeared there. As it turns out the brother is now a mute vegetable who roams about the island independently. Throw in a rape, a shark attack, numerous whippings, a crucifixion, a burning and an attempted buggery and you have the makings of an exploitation movie. While it's a Meyer film it would be remiss not to comment on the women. There are only two in the picture, a slave girl and the sadistic plantation owner played by Anouska Hempel. The latter looks and acts the part but she really isn't a patch on Meyer's usual strong women. It seems that RM later realized himself that Black Snake was a step too far in an unfamiliar direction. After this film he would go back to basics with a string of 70's films that are far more typical - Supervixens, Up! and Beneath the Valley of the Ultravixens.

This is definitely a lesser Meyer work no doubt about it. But still, it's entertaining in its grimy nastiness. It's just very difficult to label and is most certainly one for Meyer completists only.