Sang noir

Author Tom Clancy has been very critical of the way his novels, including "Patriot Games" and "Clear and Present Danger," have been adapted for the screen, and he has been especially critical of the casting, believing that Harrison Ford is too old to play his CIA agent hero, Jack Ryan. Perhaps Clancy should do what black novelist Richard Wright did in 1950: play the lead role in the film version of his novel. The novel in question is "Native Son," the now classic tale of Bigger Thomas, a poor black youth who takes the job of chauffeuring the daughter of an affluent white liberal, only to kill the girl out of fear rather than malice.

The movie was produced on a miniscule budget in Europe, and despite poor acting, low-class production values, and a generally amateurish tone, it is of definite interest due to the casting of Wright as Bigger. Sure, Mickey Spillane would play his creation, the hard-nosed private detective Mike Hammer, in 1963's "The Girl Hunters," but whatever Spillane's merits as a writer, he has never been considered a "serious" novelist. Wright, on the other hand, was the first black author to break from the literary ghetto in which Negro writers were usually placed, and be acclaimed as a distinguished man of letters regardless of race. His is a prestigious name in literature, so it comes as quite a shock to see this great writer willing to be seen as a bad actor. But Wright is surrounded by thespians who are just as bad, and can't boast of having written a literary classic. Most of the cast is as amateurish in their portrayals as the stock company Edward Wood employed in such laughably inept productions as "Plan 9 from Outer Space" and "Bride of the Monster." The overall production is not as shoddy as Wood's films, but the middle-aged Wright's portrayal of 19-year-old Bigger Thomas is more than enough to thoroughly sink it.

Still, this is a definite curio, and worth a look for anyone as interested in literature as they are in cinema.

When Native Son was made in Argentina in 1950 some of the actors were not from the United States, thus they spoke English with accents not realistic for the characters they portrayed. Dialogue was then dubbed using the voices of local American residents of Buenos Aires. I was then a student at an American high school in BA; they came to the school looking for an American boy and girl to be the voices of Bigger Thomas' brother and sister. I did Vera Thomas' voice and a boy whose Dad was in the Navy did the voice of Bigger's brother. We got off school for two days and as I recall we were paid 300 pesos. Mr. Chanal drove us home afterwards. My big line was, "Eeek, eeek, a rat!". It's a long time ago but I seem to remember that some parts were actually played by non-actor local Americans. After 49 years, I saw this movie again in 1999 and couldn't believe how amateurish it is, but in many ways the making of this movie was Amateur Night, so that makes sense.

It's a drama about systemic racism against African Americans in Chicago in the early 1940s. It follows Bigger Thomas (Richard Wright), the oldest child of Hannah Thomas (Willa Pearl Curtis), a widow whose husband was lynched in the South 12 years earlier. Bigger is a small-time criminal with a fairly clean record; his girlfriend, Bessie Mears (Gloria Madison), is a waitress and aspiring singer in a bar run by Ernie (Charles Simmonds).

Bigger gets a chauffeur job with the wealthy but liberal Dalton family. Henry Dalton (Nicholas Joy) is an entrepreneur, and his wife, Helen (Ruth Roberts), is blind but deeply interested in helping African Americans. Their daughter, Mary (Jean Wallace), is a university student who hangs out with radical political organizer Jan Herlone (Gene Michael). Bigger's first job is to drive Mary to school, but she diverts him to meet Jan and go on a round of drinking. When they get home, Mary is drunk, and Bigger has to assist her to bed. Suddenly, Mary's blind mother enters the room, and Bigger fears he'll be caught in a white woman's bedroom. He puts a pillow over Mary's mouth to keep her silent and accidentally kills her. The film then follows Bigger's downward spiral as he tries to survive the systemic racism closing in on him. It does not end well.

"Native Son" was controversial as a novel and as a movie. Pierre Chenal made the film in Argentina; no United States studio would make it with African American actors. The novelist Richard Wright played the lead role because no North American actor would. Wright helped write the screenplay based on the Broadway play version mounted by Orson Welles.

So, the movie had a difficult context when it came to its creation. The acting, including Richard Wright, is bad. The acting reminded me of a high school play. It's a real shame since the movie's ambition is noble, and the 1951 film is closer to the novel than the later versions. This "Native Son" is overtly preachy at times. I suspect a more faithful film adaptation of the novel is yet to be made.

Richard Wright's novels are famous in France.When he had to escape from his native land in the McCarthy years he lived in Sartre's and Camus' country .So it was only natural that the first version of his "native son" was filmed by a French.Pierre Chenal was not a beginner when he made "Native Son" aka " Sangre Negra"-it was actually made in Argentina- he considers his best work.But Chenal had already succeeded in the Film Noir genre:he was the first to adapt for the screen "the postman always rings twice" (Le Dernier Tournant) and "La Foire Aux Chimères " (starring Von Stroheim,one of his favorite actors) was his towering achievement.

Not only Wright adapted his own novel but he also played the part of Bigger.This is rather a mistake ,for Bigger is supposed to be about 25 and the novelist was in his forties and it shows.But it's interesting because it's very rare that a writer becomes an actor in one of his stories (another example is Erich Maria Remarque in Sirk's "a time to live and a time to die" ,but the German writer had a small supporting role).The budget was certainly rather low and the director is to be commanded for he made the best of it,particularly in the scene of Mary's "murder" and in the sequence of the nightmare (the cotton field and the building near decay where Bigger and his girlfriend are hiding). The movie is rather short (90min) and some of the aspects of the novel are botched : Mary and her boyfriend ,who are activist students ,want Bigger to join the union ,and the fiancé gives him "books" which are probably not politically correct,all this is only skimmed over.The Dalton family is a human one ,and Wright ,who was an "Uncle Tom"'s grandchild (his grandparents were slaves) does not make them the bad guys .Bigger is a victim of fate ,and of his condition:had he been white he would not have killed ,he never meant to do it.

As Leonard Maltin wrote ,it was defeated by its low budget.The 1986 remake,starring Victor Love,Elizabeth McGovern and Matt Dillon is pretty good .Both versions are worth a look.

... partially because the subject matter at the time it was made prevented it from being produced in the United States. Instead, much of it was shot in Argentina with Argentine actors and actresses who later had to be dubbed because you couldn't have people with South American accents in a film that was set in Chicago.

This is based on the novel by Richard Wright, and he adapted it for the screen and played the lead, African American Bigger Thomas, the oldest of three children of a widow woman whose husband was lynched in the South. The family fled to Chicago, and is living in squalor.

Bigger is a bitter fellow, considering the hopeless poverty the family is living in, and immediately he is established as a gray character. He procures a hand made gun and with his "gang", plans the armed robbery of a white owned establishment. This never goes off, basically because the group chickens out at the last minute. Yet when he is offered a job opportunity, chauffeur for the wealthy Dalton family, he accepts and shows up for the job.

But events overtake Bigger on the first day. He is supposed to drive the Daltons' college age daughter to the university library and wait for her, but she demands that he instead pick up her date, a labor leader and a radical, and drive them to black Chicago night spots. What is he to do? If he refused, Mary could get him fired. If he obeys, her dad could get him fired. He takes the path of least resistance and takes them to the night spots. When he returns home with Mary, she is so drunk she cannot stand up. If dad finds out what Bigger did, he is fired, so he carries her to her bedroom. Trying to get out of one bad situation leads to a worse situation which leads to Bigger accidentally killing Mary. He then disposes of her body in the most gruesome way possible. Her total disappearance the next morning has the wealthy parents believing she's been kidnapped. What happens from there? Watch and find out.

The point is, Bigger's behavior, at every turn, has been completely dominated by fear, and warranted fear at that - the fear of what happens to a black man if he is even suspected of having harmed a white girl at this point in history. He had my complete sympathy in this situation, but then he does some things that somewhat made me lose that sympathy. It really does take some unexpected turns.

The production values were actually quite good. Time was taken to make buildings, the mansion, and the nightclubs look authentic. Perhaps lots of it was shot on location or the equivalent of it in Argentina. One of the big problems is that Richard Wright is 43 years old and playing somebody 20 years younger. And although he does look young for his age he does not look like he is in his twenties. Another problem is that some of the actors are stiff and the dialogue a bit stilted. Yet it is very much worth seeing. Kino Lorber recently restored this film to its original length since almost half of it was missing from what was allowed to be seen in America because of the censorship of the era.