Posse: A Vingança de Jessie Lee

Posse is a stylish but messy modern yet revisionist black western from actor/director Mario Van Peebles which does suffer from a flabby middle part.

Billy Zane relishes as the sadistic yet curiously camp Colonel Graham who sends some of his men on a mission to rob Spanish gold but intends to kill them all afterwards.

Some of these men are black including Jessie (Van Peebles) and they manage to escape but Graham and his gang are behind them. However Jessie has demons from the past and rides to a town to avenge the death of his preacher father which includes the nasty sheriff (Richard Jordan.)

The film is bold, brash, anachronistic as well as a history lesson on the impact of African Americans on the western genre which has been swept under the carpet of history.

Van Peebles is doing too much and loses focus on the narrative of this film hence why the middle sags before picking up again. Some of the acting is broad The script is uneven, its over directed but Van Peebles manages to still fire the film with enough mischief and helped out by his actors such as Blair Underwood, Woody Strode, Paul Bartel, Richard Jordan and Billy Zane.

So a great concept, such great actors, and what do we get nada, zip, zippo, caput, no more, out the door, so long, good bye, mierda. This film has its good points but the script just did not go anywhere. Alot of the characters just went back and forth in their personalities, others just never really made a difference. Some talked like they were time travelers from the future (hint, hint Tone Loc). Others just wouldnt shut up (Weezie). One thing i just couldnt wrap my mind around was this if in the future the old man is holding a picture of the cast. How could that be possible if most of them died before they could all meet? Its like one of those time paradoxes that gives you a head ache. Not to mention the ending was a bit melodramatic to say the least. All in all i give Posse a "A" for effort but "F" on delivery.

This movie has some great character actors, Isaac Hayes, Woody Strode, Pam Grier, Paul Bartel, and unfortunately they are mostly wasted. The development of the main characters is too rushed, and the story races on at a breakneck pace. "Posse' borrowed liberally from the "spaghetti westerns" ( revenge flashbacks as in "For a Few Dollars More", gattling gun as in "A Fistful of Dollars", coming of the railroad as in "Once Upon a Time in the West") The movie tries to accomplish too much too quickly, and makes one wish that the deliberate pace of the "spaghetti westerns" had also been "borrowed". I rate it a 5.0, very average, and a missed opportunity. - MERK

When I heard about and saw the trailers for "Posse" I was eagerly waiting for the film's release. African-Americans made up fully a third of all cowboys in the Old West, but were virtually non-existent in Hollywood's Old West, except as train porters or mammies. The only real black cowboy seen by most Americans was Woody Strode, thanks to John Ford ("Sergeant Rutledge," "The Man Who Shot Liberty Valance, "How the West Was Won"), Richard Brooks ("The Professionals") and Italian filmmakers ("Once Upon a Time in the West," "The Revengers," "The Unholy Four").

"Posse," written, produced and directed by Mario Van Peebles, had promise. Unfortunately, it gets bogged down by cliches and a tired storyline. A rousing climax almost saves the film, though.

The movie begins with a stark history lesson about the true accomplishments of blacks in the Old West, as told to Reginald and Warren Hudlin by an old man (the legendary Woody Strode). He then segues into the fictitious story of Jesse Lee...

Lee (Mario Van Peebles) and his men are getting cut to pieces by the Spanish during the Spanish-American War while their commanding officer (a slimy, but effective Billy Zane) drinks Cognac miles away. Lee complains about the conditions and is arrested. Zane later promises to exonerate him and his men if they will pull off a mission for him -- namely to steal valuable documents from the Spanish. Stephen Baldwin is thrown in with Lee's gang because he's a troublemaker Zane wants to get rid of. The group pulls off the mission, but, instead of finding documents, they find gold bullion. They also find Zane and his cohorts waiting at the rendezvous point with guns to finish them off. Unfortunately for Zane, his men are like Teddy Roosevelt's Rough Riders -- long on bravado, short on skill. Lee's men, having been in combat, get the drop on Zane, kill most of his men and flee back to America as wanted men. (By the way, the method they use to get out of Cuba and back to America is original, but very creepy).

The middle part of the film is spent showing Lee and his men (rapper Tone Loc, Baldwin, a whiny aide and a few spares) heading to New Orleans, where they meet up with Big Daddy Kane. They also run into Zane, who has been tracking them. The whole tracking plotline is hard to believe (remember how long it took John Wayne to track down Natalie Wood in "The Searchers"?), but it makes for good shootouts.

Eventually, Lee and his men make it back to Lee's hometown, a black township full of freedmen. Such townships were numerous in the Old West, but survived only at the whim of white county officials (watch "Rosewood" for an example of what they often suffered from). The town is run by Richard Jordan as a greedy sheriff in cahoots with some crooked county officials. Throw in Zane and his own posse, along with a Gatling gun and you get the rousing climax.

Mario Van Peebles is not much of an actor, but he has enough range and skill to carry the burden of being Jesse Lee. Baldwin is not quite up to par with brothers Alec and Daniel, but he holds his own, especially when he meets his demise at the hands of fellow whites. I liked Big Daddy Kane's soft-spoken, but proud and defiant, role as Father Time and the way he kept looking at his pocket watch before doing anything. Tone Loc was a waste, though, since he kept rapping like it was 1998 instead of 1898.

The town basically had one purpose and that was to show off an impressive cast of black stars -- Melvin Van Peebles, Pam Grier, Reginald Vel Johnson and Nipsey Russell, among others. Of course, having a cameo meant biting the bullet (literally) in the finale.

By the way, another problem for "Posse" was its setting. Many contributions and accomplishments by African-Americans came during the years following the Civil War, from 1865-1890. Black soldiers became the vaunted Buffalo Soldiers who protected white settlers and tracked down Geronimo. Freed blacks moved west in droves as homesteaders and as cowboys on cattle drives because many white men had been killed or maimed during the war. Black townships sprang up in Oklahoma and Arkansas. Black lawmen like the legendary Bass Reeves were in abundance, especially in Oklahoma and Texas. By 1898, blacks were in a decline (despite their bravery in the Spanish-American War) that would not be reversed until World War I. Surely, Van Peebles could have drawn up a storyline set between 1865 and 1890.

"Posse" has a lot going for it. It's too bad Mario Van Peebles went for cliches, shootouts and tired storylines meant to sell tickets rather than tell a good story. "Unforgiven" and "Tombstone" showed you can do both.

"Posse" is a great movie!! It's basically something nobody has tried before: telling the tales of the first great black cowboys. Mario Van Peebles wears both hats as he works as both an actor and director for this film, about a black infantrymen named Jessie Lee leading his fellow troopers into battling white supremacists and his former commanding officer (played with slimy exception by Billy Zane). "Posse" has everything a good western should have: great gun-fights, cool performances (especially by Van Peebles, Stephen Baldwin, and Big Daddy Kane) and a triumphant ending.