Coonskin

Street Fight is a brilliant piece of brutal satire. This is not a movie you just watch for fun. It is not a comfortable experience, although it does have some laugh-out-loud moments. This is a movie you watch when you need food for thought.

To dismiss this film as simply racist is to miss the point entirely. This is not only a satire of Song of the South, it's also a biting commentary on the prejudices that Americans still have as a society. Every ethnic group portrayed in the movie gets shown as grotesque caricatures of their stereotypes, which in turn are grotesque caricatures of real people. Through this wild exaggeration, the filmmaker shows just how absurd these tightly-held beliefs really are.

If you're the sort of person who's willing to acknowledge the ugliness of the prevalent prejudices American culture still holds, and if you're not afraid to look your own prejudices in the eye, this movie may be for you.

One of the most interesting movies to be classified as "blaxploitation," Bakshi's "Coonskin" is a rich text full of wonderful insight. He wrote it in collaboration with Scat Man Crothers and Barry White, who appear in the film as well. The racist imagery can often be disturbing, but the message of the movie was so powerful that the NAACP gave it an endorsement (but only grudgingly).

I highly recommend this movie to anyone who is interested in an examination of the pervading atmosphere of racism that Bakshi attempts to deconstruct. Wonderful stuff.

by Dane Youssef

"Coonskin" is film, by the one and only Ralph Bakshi, is reportedly a satirical indictment of blaxploitation films and negative black stereotypes, as well as a look at life black in modern America (modern for the day, I mean--1975). Paramount dropped it like a hot potato that just burst into flame.

But this is a Bakshi film, controversial, thrilling, and a must-see almost by definition alone. Not just another random "shock-jock" of a movie which tries to shock for the sake of shock. It's by Ralph Bakshi. Anyone who knows the name knows that if HE made a movie, he has something big to say...

Although it's roots are based in cheap blaxploitation, "Coonskin" isn't just another campy knock-off of mainstream white film or any kind of throwaway flick. "Coonskin" wants to be more. It aims it's sights higher and fries some much bigger fish.

The movie doesn't just poke fun at the genre. Nor does it just indict black people, but actually seems to show love, beauty and heart in the strangest places.

"Coonskin" tells a story out of some convicts awaiting a jail-break. The fact that it's even possible to break out of a prison in the "Coonskin" world alone makes it old-fashioned.

One of the inmates tells a story about a trio of black brothers in Harlem named Brother Bear, Brother Rabbit, Preacher Fox who want respect and a piece of the action and are willing to get it by any means necessary. The Itallian mob is running all the real action.

Big name black musicians star: Barry White and Scatman Crothers, as well as Charles Gordone, the first black playwright to take home the Pulitzer. Something big is happening here obviously.

The movie plays out like a descent into this world, this side of the racial divide. From an angry, hip, deep, soulful black man with a hate in his heart and a gun in his hand.

Bakshi's films never know the meaning of the word "sublety." This one looks like it's never even heard of the word. But maybe a subject like this needs extremism. Real sledgehammer satire. Some subjects can't be tackled gently.

Bakshi is god-dammed merciless. Here, no member or minority of the Harlem scene appears unscathed.

The characters here are "animated" to "real" all depending on what the mood and situation are. The animated characters and the human ones all share the same reality and are meant to be taken just as literally.

Bakshi never just shows ugly caricatures just for shock value. He always has something to say. Nor is black-face is gratuitously. Here, unlike in Spike Lee's "Bamboozled," he seems to be using it to try and really say something.

Like 99.9% of all of Bakshi's films, this one incorporates animation and live-action. Usually at the same time. Bakshki isn't just being gimmicky here. All of this technique is all intertwined, meshing together while saying something.

Somehow, this one feels inevitably dated. Many of these types of films (Bakshi's included) are very topical, very spur of the moment. They reflect the certain trend for the day, but looking back of them years later, there's just an unmistakable feeling of nostalgia (as well as timeless truth).

Even though the music, clothes, slang and the city clearly looks like photos that belong in a time capsule, the attitude, the spirit and the heart remain the same no matter what f--king ear it is. Anyone who's really seen the movies, the state of things and has been in company of the people know what I'm talking about.

Even some of the of the black characters are a bunny (junglebunny), a big ol' bear and a fox. One of the most sour and unsavory racist characters is a dirty Harlem cop who's hot on the trail of these "dirty n-----s" after the death of a cop. But for him, it's not just business. Nor is it for the rest of the brothers who wear the shield. It's just pure sadistic racist pleasure of hurting blacks.

The sequence involving the Godfather and his lady is one of the most moving pieces in the whole film, of which there are many. It plays out like an opera or a ballet.

The promo line: WARNING: "This film offends everybody!" This is not just hype. Proceed with extreme caution.

You have been warned...

--Happy Viewing, Dane Youssef

After finally watching Walt Disney's Song of the South on myspace, I decided to watch Ralph Bakshi's response to that movie-Coonskin-on Afro Video which I linked from Google Video. In this one, during the live-action sequences, Preacherman (Charles Gordone) takes his friend Sampson (Barry White) with him to pick up Pappy (Scatman Crothers) and Randy (Philip Thomas, years before he added Michael for his middle name professionally) as the latter two escape from prison. During their attempt, Pappy tells Randy a tale of Brother Rabbit (voice of Thomas), Brother Bear (White), and Preacher Fox (Gordone) and their adventures in Harlem. As expected in many of these Bakshi efforts, there's a mix of animation and live-action that provides a unique point-of-view from the writer/director that is sure to offend some people. Another fascinating animated character is Miss America who's a big-as in gigantic in every way-white blonde woman dressed in skin-tight red, white, and blue stars and stripes who has a hold on a little black man and has him shot in one of the most sexually violent ways that was shockingly funny to me! There are plenty of such scenes sprinkled throughout the picture of which another one concerning Brother Bear's frontal anatomy also provided big laughs from me. There's also a segment of a woman telling her baby of a "cockroach" she was friends with who left her that was touching with that part seeming to be a tribute to the comic strip artist George Herriman. I was also fascinated hearing Grover Washington Jr.'s version of "Ain't No Sunshine" heard as part of the score. Most compelling part of the picture was seeing the Scatman himself depicted with his head in silhouette during the opening credit sequence singing and scatting to a song that has him using the N-word in a satirical way. When I saw a VHS cover of this movie years ago, it had depicted Brother Rabbit in insolent mode in front of what looked like the Warner circles with the slogan, "This movie will offend EVERYBODY". That is ample warning to anyone who thinks all cartoons are meant for children. That said, I definitely recommend Coonskin to fans of Bakshi and of every form of animation.

Streetfight (aka Coonskin) is a very unique film directed by animation pioneer Ralph Bakshi. It is an oddity of the cinema, and is very much worth seeing. It is live action mixed with animation, seemingly influenced on Disney's legendary Song of the South, almost as if it is a response to that flick. Philip Michael Thomas, later to become Don Johnson's sidekick on Miami Vice, and Scatman Crothers, most famous for his role in Kubrick's The Shining, are prison escapees. Charles Gordone and Barry White (yes, that Barry White) are Thomas' friends and plan to help him escape prison. They are stuck at a police roadblock, and Crothers tells Thomas a story about a black rabbit, a bear, and a fox who move from the South to Harlem in order to find a more peaceful existence. The story is animated, and provides a lot of wonderous things to see. Like all of Bakshi's films, most will be annoyed and will dislike the animation. True animation lovers will forgive its clunkiness and fall in love with its inventiveness. The movie is very violent, very sexual, and it is mostly about battles between the races. For a long time, I thought I was watching something extremely important, but after a while, especially after I got done watching it, it started to seem more like a run-of-the-mill blacksploitation flick, along the lines of Superfly. It's very sloppy and doesn't really say anything. Besides, isn't Bakshi white? Whatever the answer to that, Coonskin/Streetfight is still very much worth watching for animation aficionados as well as cult movie fans. 7/10.