Mandingo

1975's "Mandingo" earned much scorn from such highbrow critics as Roger Ebert, such was its unflinching look at slave relations in the Antebellum South, including numerous interracial couplings featuring full frontal nudity. The series of Falconhurst novels began with Kyle Onstott's original 1958 publication of "Mandingo," named for a specific type of fighter from the West African Niger region, also known for its later use by Alex Haley in his largely fictional yet compelling family history "Roots," the miniseries still two years away from its debut broadcast. Producer Dino De Laurentiis spent a number of years trying to finalize a deal, and with the relaxation of the old ratings system could never have filmed such a sordid tale until the 70s, a decade of untold exploitation where 'anything goes,' and often did. Director Richard Fleischer initially turned the assignment down but finally relented, James Mason earning top billing as plantation owner Warren Maxwell, in a role rejected by James Cagney and Charlton Heston, Perry King as son Hammond in place of Jan-Michael Vincent, Jeff Bridges, Beau Bridges, and Timothy Bottoms. Hammond is mostly portrayed as a sympathetic figure toward his slaves, often at odds with his harder edged father, his subsequent marriage to cousin Blanche (Susan George) soured on their wedding night by her less than virginal countenance under the sheets (as was so often the case, the girl was deflowered by her own brother). Hammond's purchase of new 'bed wench' Ellen (Brenda Sykes) does not go unnoticed by an increasingly irrational Blanche, eventually taking revenge on her faithless spouse by summoning Mandingo fighter Mede (Ken Norton) to her bed, producing a non white child that is quietly allowed to bleed to death, poor Blanche poisoned and defenseless Mede shot, scalded, and butchered by pitchfork. Critics were appalled by the brutality of Norton's no holds barred fight scenes, and the nihilistic climax left audiences appropriately stunned, a game cast putting forth a great effort to bring such unhappiness to vivid life. Interiors are effectively dark and gloomy, furniture sparse and guests rarely in evidence, slaves variously bought and sold to keep the rundown plantation afloat (location shooting in Louisiana). Susan George gives an uncanny rendition of Bette Davis in a part that few actresses would brave, and even at the end still earns sympathy making tearful entreaties to her unfeeling husband. James Mason and Perry King also acquit themselves well, as does Richard Ward as the intelligent Agamemnon punished for being able to read, and Ji-Tu Cumbuka, later Kunta Kinte's Wrestler on ROOTS, making the strongest impression as a runaway slave who prefers death to a life enchained. Personal preference impacts how one sees this picture, slowly gaining increased stature over the years, and certainly better than its immediate sequel "Drum," Ken Norton returning as a new character.

I can see why this was controversial, and no doubt it would be if it were released now (2013). It's stunningly unlike Gone with the Wind. The style is extreme Southern Gothic, (not to be confused with camp). Some shades of Tennessee Williams but goes beyond where he dared. The dialogue is a bit difficult, and DVD has no English subtitles, but you'll be rewarded if you stick with it. (No need to understand every word). I agree that Tarantino was influenced by it but his approach to the subject matter is very different. Mandingo stands on its own as a major work of the 1970s and it's certainly a film that deserves to be better known. Striking photography and music throughout. This film panders to no one, nor does it simplistically tell the viewer what to think about anything. We have the feeling we're on our own with this. Maybe it's no accident that that feels liberating. Fasten your seat belts and see it.

Mandingo seems to divide it's audience strongly between love and hate and that's not really surprising; the film features some real nasty elements and the way that it's all done with a highly quality 'period drama' sort of style means that it will likely miss it's supposed intended audience - although it seems to have found a good fan base among exploitation fans. The film is liable to shock modern audience for its racial themes and strong racial tone; it didn't bother me all that much to be honest as it suits the film within it's context and helps to enforce its exploitative nature, which in turn makes Mandingo more powerful. The film takes place in the south of America during the 1840's and the main focus of the plot is on slavery. White farm owner Hammond Maxwell one day discovers the fighting talent of one of his black slaves and soon decides to toughen him up for battle with other slaves. He's sympathetic with his slaves and soon becomes affectionate with one of the women, which doesn't sit well with his wife Blanche who, for revenge, forces the top fighter to sleep with her.

Anyone going into this film expecting a serious look at slavery will be either disappointed or annoyed (maybe both), but if you go into it expecting some nasty exploitation, you might find a lot to like. The film gives an unflinching look at a more primitive society and it actually more shocking for its tone and implications than the events that take place in it (although the film does include plenty of racism, torture and rape scenes). The way that the film depicts the black slaves as animals makes for uncomfortable viewing and the way that society was segregated into 'white masters' and 'black slaves' is always enforced on the viewer. The performances sit better with the exploitation side of the film rather than the serious drama side as none of them are particularly brilliant; although the three leads do fit into their roles well. Overall, this is clearly not a film for everyone and I'm not in any way saying that the film's bad reputation is in any way undeserved; but Mandingo is certainly an interesting film and I would say it is at least worth seeing.

This film, despite some controversy about it's biracial sex scenes when it was initially released, seems to have faded from memory. Given the degree of sex, violence, and unadulterated exploitation of slavery in the antebellum South, that's a surprise, because I saw this flick nearly ten years ago and STILL can't forget it! Those whose image of the old South has forever been defined by GONE WITH THE WIND as romantic and chivalrous and pick up this movie in the video store(the cover art on the box resembles that famous pose with Gable and Leigh)thinking they're about to be trasported to Tara ought to run like Hell! James Mason and his lame son Perry King live on a plantation and own slaves body and soul. Well, at least the body part, as we see when Mason strings an errant slave upside down, strips him, and pattles his butt with a perforated paddle. Son King takes a more tender approach, as he sleeps with the female slaves, especially Brenda Sykes, whom he takes as his mistress. However, he marries Susan George to provide an heir, and presents her with a ruby choker. He also gives Sykes the matching earrings. When George learns of the relationship(Sykes wears the earrings while she serves dinner to George and King on their first night at the plantation), and Kings learns George has slept with her brother, the marriage hits the skids. George drowns her sorrows in lots of sherry and lots of Ken Norton, a slave Perry has purchased specifically for fighting other slaves for betting. George becomes pregnant, and when the baby comes, it hits the fan! It's hard to believe that anyone in 1975 could see this film as anything but exploitation of a very dark period in American history. Didn't anyone cringe at the sight of King going in to "take pleasure" from a female slave in a bed and the woman groans, "I too black for you", or Ken Norton standing stoically on the auction block of a slave sale while an old woman gropes around inside his loincloth? The video edition of this film I saw was from the early eighties, when movie studios did their transfers from the first worn-out prints the could grab, and may have had a muddy, faded look because of this, but it's hard to believe this thing came from a major studio. You'd certainly wouldn't know it from the production values, because the film looks as if the filmmakers didn't spend a penny more than they had to(we're treated to interior scenes inside a plantation house curiously devoid of furniture). With all these setbacks, it's hard to understand why this movie hasn't garnered even a semi-cult following. If you're in the mood to be offended on all levels and don't treasure some romanticized Hollywood image of the old South, grab MANDINGO.

In slave-owning Louisiana, Hammond Maxwell (Perry King) is a dutiful son managing his family's rundown plantation and its slaves. He is considered kind compared to other slave owners but he is still fully involved in the institution. He has sex with his slave Ellen and takes a liking to her. He marries his cousin Blanche but their marriage is troubled from the start. From his father, he gets obsessed with purchasing a Mandingo, a slave gladiator. He buys hulking submissive Mede (Ken Norton) who he hopes to turn into a fighter.

It's fascinating how times have change. This is comparable to 12 Years a Slave. While 12 got Best Picture, this got panned. The violence and brutality is matter of fact. There is nothing special in the whipping and the raping. They are everyday occurrences. Even Hammond is not out of the ordinary. He still has some of his humanity which only makes this even darker and more real. Back in '75, this brutal depiction of slavery was probably too much for many and was ahead of its time. It doesn't turn it into melodrama. It lets the audience exist in the dark times. Tarantino sees this as influencing his Django Unchained. It is missing more from the slaves' side of their existence. It would probably be better to have both Hammond and Ellen as protagonists. It needs to get inside the slaves' mind. Despite that, this is still a shocking and compelling movie.