Mandingo

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.

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.

This movie is a disturbing look at the realities of the antebellum South. And yes, I do believe the depictions and events in this movie are realistic. Such atrocities are well-documented. Both the movie and the book contain graphic violence, sex, and rape. The movie is sometimes difficult to watch, but it's worth watching, for anyone who ponders the evils of humanity and especially the history of the U.S. during the 1800's. The acting and film quality aren't upper echelon. The dialogue is sometimes excessively histrionic. But that's not what's so good about this movie. It's gritty, realistic, and brutally honest.

As I watched, I realized that maybe things haven't changed so much since those times. Racism and sexism are still very much alive. You can easily compare the attitudes and behaviors depicted in this film with things that go on in our society today. Some people have commented that Blanche was "oversexed". I find that a rather hilarious statement. They obviously don't get the feminist subplot of this movie. The way it depicts and breaks down racism and sexism and shows exactly why they're faulted ideologies is why I love this movie so much!

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.

I just saw this film on the big screen (the only surviving 35mm print in the world). I had never seen it on video, so seeing it in a crowded theater was my first experience with the film. As a bonus, the director, Richard Fleischer, the star, Perry King, and Brenda Sykes, who plays King's slave "wench" in the film, spoke before the screening.

The audience alternated between gasping and roaring with immediately regretted laughter throughout the screening. Nobody laughed for a moment at Susan George's supposedly over-the-top performance. And at the climax -- there were astounded gasps all over the theater. Afterwards, once the applause had died down, the audience filed out, stunned. Everyone looked shell-shocked. I wandered around for a while listening to people murmuring: "I told you guys..." "Best I've seen..." "Totally uncompromising..." "That's how it was..." "Didn't pull any punches..." "Amazing..." "Where did you hear about it?..."

We had one big advantage over most people who see the film. Most viewers go rent the tape because they read about it in, say, Edward Margulies' and Stephen Rebello's BAD MOVIES WE LOVE (which is how I knew about it). MANDINGO has a huge reputation as a camp classic, so people seek out the video where it can be found. Then they take it home and watch it alone, or with a friend or two, pre-primed to laugh.

The audience I was sitting with at the American Cinematheque theater had, first of all, read the sober, favorable description in the Cinematheque schedule. Then we'd listened to Fleischer himself talk about how he had refused ten times when Dino de Laurentiis had asked him to film the novel, only to finally accept when he realized how he could do it: "By being totally honest and straight with it." And he was, if you view it without a laugh ready. King and Sykes also spoke calmly and soberly about how hard the shoot was, and how the cast considered it an important film but still had trouble handling the emotions it stirred up.

Fleischer is hardly a symbolic director, although there's a lot of "found" symbolism in 10 RILLINGTON PLACE, for example. But MANDINGO was an obvious statement of the inhumanity of slave-OWNing, and it constantly used the setting and characters to emphasize the moral and physical disintegration of the Deep South under the self-imposed yoke of the slave culture. That sounds pretentious, but in MANDINGO it's totally straightforward. Moral disintegration leads to moral disintegration. The crime is its own punishment. MANDINGO is an antimatter GONE WITH THE WIND.

MANDINGO, as Fleischer pointed out, was a huge hit on its initial release. It was also viciously attacked by all but two critics in the United States. (Fleischer admitted that he saved all his reviews, and pointed out mildly that those two reviewers -- who were the only critics to go into the film in depth -- pronounced the film a masterpiece. "I don't know if it's that," he said, "but those two were certainly a breath of fresh air.")

Because of all the controversy, the film was never rereleased. Nobody at the screening could think of a single time it had been screened between 1975 and August 28, 1999. Perhaps it was screened once or twice, but my point is that essentially no one since 1975 has seen this film with an audience, to feel the reactions of those around the room, to see it on the big screen.

I think it's really unfortunate that MANDINGO has gotten locked into this "camp" label. The film contains so much depravity that I can certainly see why it was selected as a "camp classic". But that wasn't the intent at all. I've heard this film compared to SHOWGIRLS. But SHOWGIRLS was directed by the bizarre Paul Verhoeven (ROBOCOP, TOTAL RECALL, BASIC INSTINCT). Of course he was going for camp; he always does camp. But Richard Fleischer? He did 20,000 LEAGUES UNDER THE SEA, MR. MAJESTYK, 10 RILLINGTON PLACE (a real gem), THE BOSTON STRANGLER, FANTASTIC VOYAGE, SOYLENT GREEN. He is one of the most mild-mannered directors alive. He's done bad stuff -- CONAN THE DESTROYER and RED SONJA come to mind -- but in the seventies he was doing his best work. And that would have to include MANDINGO -- to my complete amazement.

I can't believe how different my experience with this film was from its usual "cult" interpretation. Now I wonder if Otto Preminger's HURRY SUNDOWN is as bad as the Medveds said it was in 50 WORST FILMS OF ALL TIME. I'll have to try to see it for myself.