DRUM - Review By Greg Klymkiw - Delectably vile MANDINGO sequel on Kino Lorber BRD

"Papa? You put Drum with Elvira.
She's a purty l'il wench and everybody says she's in heat."

PREAMBLE TO MY REVIEW OF DRUM

As a young adult in the 80s, I first saw Drum on a grand double bill with Mandingo at the Epic Theatre, an old and beloved childhood haunt.

When I was a kid in the 60s, the Epic (back then it was called the Colonial) was a mouldy grind house perched proudly upon the rubby-dub stretch of Winnipeg's Main Street Strip twixt a benign Woolworth's and a fleet of hooker hotels replete with wood-floored beer parlours absorbing decades of piss and sputum. The cinema stood next to a pair of equally foul grind houses, the Regent and the Starland.

The latter sadly became a clothing store soon after first discovering these glorious homes away from home. No matter, though. I still had two sleaze-pits to choose from.

YAPHET KOTTO
GO! GO! GO!
LIGHT THE FUSE!
WATCH IT BLOW!
& BLOW & BLOW!

Sometime between the age of 7 and 8, I started to haunt these hallowed joints of non-stop motion picture entertainment. This was, of course, unbeknownst to my too-trusting Mom who made me promise that I'd never go to any of them. "Filthy!" she'd proclaim, her lips pursed in disgust. "They're full of dirty, dirty, filthy men and they want to touch your dinky."Mom's dinky-fondling radar wasn't too far off, only it wasn't my dinky anyone was interested in. The dirty, filthy men had their own dinkies to think about. You see, as the fetid aroma of cum and urine danced about my olfactory regions, I'd happily sit on tattered seats, the soles of my Oxfords adhering to the sticky floors whilst tell-tale slurping echoed throughout the auditorium, competing with the loudly-cranked front-speaker mono sound as malcontent, alcoholic veterans of the Great Wars were vigorously fellated by toothless glue-sniffing hookers. 

This was all an added bonus to eye-balling triple bills for 35 cents in cinemas that admitted anyone, regardless of any restrictions placed on the product by Manitoba's Film Classification Board. I wallowed like a piglet in slop as Hammer horrors, biker flicks, Roger Corman extravaganzas and other forbidden delights unspooled. Occasionally there'd be Randolph Scott westerns, Gordon Scott Tarzan pictures and for some reason, The Big Trees, a 1952 timber man vs. Quakers melodrama starring Kirk Douglas and Edgar Buchanan was slipped in every month.

DRUM is now on
Kino Lorber
BLU-RAY!
Don't you know?

By the 1980s, all my favourite grindhouses closed, but the Colonial, now newly-christened as the Epic remained the sole purveyor of cinematic sleaze in Winnipeg. Alternating between standard exploitation fare Friday to Monday and soft-core porn Tuesday to Thursday, I was still a piglet in slop, albeit a trifle more porcine than in those halcyon days of innocence.

Because I'd missed Drum on its first release, I was thrilled to be seeing it on a double bill, advertised in a one-column-inch newspaper ad with the oh-so enticing tag that proclaimed:

“And now . . . the BARE NAKED Roots”. 

NEW ORLEANS
WHOREHOUSE FROLICS

Accompanied by two esteemed members of the Faculty of English and Film at the University of Manitoba, Professors Stephen Snyder and George Toles (writer of Guy Maddin films like Archangel, Careful, and The Saddest Music in the World), little did we know that our lives would irrevocably change forever. This, you see, was truly an epochal event for all three of us in all our collective years of seeing movies, both separately and together.

It would, dare I say, bind us forever like Siamese Triplets in a Royal American Amusements travelling freak show. Mandingo was amazing enough, but Drum allowed us to reach some stratospheric pinnacle of raucous delight that will never be paralleled.

Seeing Drum on the recently released Kino-Lorber Blu-Ray brought it all back to me. As we-three sat in that rank pit of putrescence, a grind house that would have allowed the late, great film critic Manny Farber to feel like he'd died and gone to Heaven, it was indeed Drum which inspired an indeterminate number of blood vessels to burst and veins to pop open with geysers of lifeblood.

Mainly because of the brilliant performance of star Warren Oates (though Yaphet Kotto and John Colicos proved to be no slouches), it was essentially a coin toss to determine what was louder in the cinema that day, so very, very long ago. Was it our seemingly non-stop cacophonous shrieks, snorts, spittle-spraying guffaws or the wet-vac slurps from toothless hookers fellating old men? Good gum jobs, I guess, never die, so long as a prestigious venue stands erect to allow them their place in the world and visionaries like Kino Lorber to keep our memories so vitally alive with BRDs of movies like Drum.

END OF PREAMBLE

"What a splendid animal he'd be,
stripped down and naked."
John Colicos (right) as Bernard DeMarigny
has eyes for Ken Norton (left) as Drum

Drum (1976)
Dir. Steve Carver
Starring: Warren Oates, Ken Norton, Isela Vega, Pam Grier, Yaphet Kotto, John Colicos, Fiona Lewis, Lillian Hayman, Royal Dano, Cheryl Rainbeaux Smith, Paula Kelly, Brenda Sykes
Review By Greg Klymkiw

Drum is pure melodramatic B-movie magic on an A-level budget, courtesy of über-producer Dino DeLaurentiis.

Crisply directed by Roger Corman protégé Steve Carver (Big Bad Mama, Capone) and starring the incomparable Warren Oates, taking over the Hammond Maxwell role Perry King played so stalwartly in Mandingo, Drum was a movie so reviled that its original studio Paramount, backed off from generating a sequel to one of their biggest box-office hits of the 70s. DeLaurentiis simply set the film up elsewhere, but once the film was complete, its new studio United Artists was so embarrassed with the results, they almost didn't release the film.

WARREN OATES
A MAN AMONG MEN
THE ACTOR'S ACTOR
is
MASTER
HAMMOND
MAXWELL
of
FALCONHURST

Drum is certainly no Mandingo, a genuinely great film by ace director Richard Fleischer, but while its aim is not as high as its predecessor, it's still one strange, subversive, alternately entertaining and repellent motion picture. Though straight-up genre director Carver seems out of his depth with the layered, crazed and snappily written screenplay by Norman Wexler, it is the writing which holds up remarkably well. Carver handles the action with taut, yeoman efficiency and much of the film's cast handle themselves superbly - notably the aforementioned Oates, a completely psychotic John Colicos as a flamboyantly mincing promoter of Mandingo no-holds-barred fisticuffs, the sexy and passionate Isela Vega as the Madame of an upscale New Orleans whorehouse (reunited here with her Bring Me the Head of Alfredo Garcia co-star Oates), the late legendary Cheryl "Rainbeaux" Smith (Lemora, Caged Heat Joan Jett's real-life drummer) as Hammond's precocious, promiscuous daughter, Pam Grier (Jackie Brown) as the ultra-sexy bed wench and the wonderful character actor Royal Dano as a vicious slave trader. Happily, Lillian Hayman returns from Mandingo as "house Mammy" Lucretia Borgia, or as Hammond describes her via Warren Oates's pride-infused line:

"When I was a l'il sucker, I gots my titty milk from her".

Master Hammond (Warren Oates)
admires his new bed-wench Regine (Pam Grier).

Less successful is the gorgeous Ken Norton. His line readings are generally competent at best, but he certainly handles the muscular aspects of the role (both the violence and the sex) with the requisite stoicism and glistening pectoral flexing. Norton, in fact, returns to this sequel as a completely different character altogether since Mede, his Mandingo role, saw him pitchforked into a huge vat of boiling, burbling and decidedly scalding hot water.

Here, Norton plays the title character Drum, a young slave whose biological (and white) mother Mariana (Vega) has had her black lesbian lover Rachel (Paula Kelly) raise the lad as her own son. When Drum takes a swing in anger at gay aristocrat Bernard DeMarigny (Colicos), he asks for a bit more than raising the ire of this foppish French-accented sodomite, DeMarigny is first insulted when Drum refuses his advances, then tries to castrate our hero in retaliation and finally murders Drum's "mother", the lesbian lover of brothel keeper Mariana (in case you've forgotten). Drum might be justified in pounding DeMarigny, but being a slave he has no rights at all and is most definitely not allowed to wallop a White Man.

Drum is sold for his own safety by his biological Momma to Hammond Maxwell. Mom Mariana is sorry to see Drum go. In spite of being a lesbian, she also has a taste for the dark fellas and her son - I kid you not - is the spitting image of the African Prince who impregnated her and she's been mulling over a tumble with the lad. It's a good thing Drum's sequestered to the mighty Falconhurst plantation since he'll avoid castration, then death and a tumble (or several) in the sack with his biological mother (though he doesn't know she is his biological Mom). Later in the film, Mariana even does get a chance to salivate over her son's brawn and makes a healthy move in the direction of potentially copulating with him.

If any of this is sounding even a trifle insane, don't worry. It is.

Blaise and Drum fight to the death

At Falconhurst, Drum rises to power by being a loyal and trusted slave. He even makes friends with Blaise (Yaphet Kotto), DeMarigny's former "fighting nigger" who was saved from castration after losing to Drum in the whorehouse fighting pit and is now safely ensconced on Hammond Maxwell's palatial estate.

This squalid slave-breeding plantation, introduced to us in Mandingo, continues to be as full of fornicatin', sucker poppin' and whuppin' as it ever was.

In fact, we're all the better for Warren Oates playing Hammond since he's a lot more rugged, manly and delectably salacious than pretty boy Perry King could have hoped to be at this point in the character's life. Hammond Maxwell, as first portrayed in Mandingo revealed considerable duality in terms of the slave trade. With a more mature Oates in the role, we do eventually get to see this side of the character, but also within the context of two decades passing since the events of that film. Hammond was a product of his time, culture and upbringing in Mandingo, but Oates seems to naturally build on his conflicted feelings.

Now in middle-age, Hammond is courting Augusta Chauvet (Fiona Lewis), a fallen woman in need of a husband. Hammond himself is in the market for a wife to tend to his wayward daughter Sophie and run the more ladylike aspects of the estate. At this point in his life, he would have preferred to marry a whore, citing their practicality and loyalty being more to his liking. He's happy enough, though, with an indiscrete Southern belle. "She ain't exactly a Ho' but she sho' ain't a lady neither," observes our hero who also admits to having survived two wives since Mandingo. Those of us who know that film intimately will see through this, but even without seeing it, Oates manages to convey that he's a man with plenty of secrets. The fact of the matter is that Hammond actually had three wives. Being a paragon of discretion, he coyly doesn't mention his first wife. After all, he poisoned her to death with a laced hot toddy after she gave birth to a black baby (whom he also murdered).

Ah, it's a tough life being a plantation owner.

Always emitting tastily grotesque dialogue with a completely straight face (but with ornery Oates-ian relish) he manages to sicken us with such aplomb so that every time Hammond opens his mouth and drops a demented gem from screenwriter Norman Wexler's brilliantly absurdist adaptation of the bestselling novel by Kyle Onstott, it's often impossible to not let loose a huge series of belly laughs. Such, though, is the genius of Oates as an actor that his rendering of the plantation owner does not descend into pure camp (though much of the film does and certainly a few of the actors do). He plays the nutty lines with a straight face and as such, they're so much the funnier and sickening in one fell swoop. As well, Oates brings the weight of his own world-weariness and (relative) maturity to the character's feelings about his slaves.

Perhaps because Oates clearly relishes the role, he owns it in ways that suggest he's perfectly aware of its alternately satirical and human dimensions. He even plays with the black comedy in daring, dangerous ways. When he first complains to his newly acquired Mandingo "house nigger" and "prime breeding stud" Drum (Norton) that he doesn't speak "nigger-ish" enough, it's within the context of rudely taking a leak in front of some woman-folk. The scene is funny as hell, but also funny in that, "What the fuck did I just laugh at?" sense of incredulousness one has at one's own reaction. As well, Oates manages to handle the ignorance in ways that also betray Hammond's inner conflict. "You do have some human blood in you. You ain't all nigger," he says to Drum. Then, with a hint of both shame and sadness, Oates skilfully renders a capper-of-a-line when Hammond says, "That's probably why you're gonna hate me sometimes, but that's all right. That's just the human part of you coming out."

When Hammond repeats his "you don't talk nigger-ish enough" concern later on, it occurs during a moment when Hammond is in anything but a jovial mood. Oates calibrates his delivery with sheer malevolence. He essentially embodies the role with a sartorial splendour which veers from good-natured good old boy to a mean, ignorant, vicious slave owner. As well in this scene, Hammond chastises Drum for calling him "Mister" instead of "Master". Drum's response here is cheeky and hilarious. Oates has a rip-snorting time with his joyfully incredulous response to this. "That be a joke," he exclaims. "I ain't never heard a joke from a nigger before." This is a "first" that clearly pleases Hammond. Most slave-owners would respond as if they'd been insulted, but Hammond is a whole different kettle of fish, especially as Oates plays him.

The genuine conflict within Hammond about what it means to treat human beings as slaves is ever-present. During one "whuppin'" sequence, Hammond orders 30 blows. Oates clearly conveys that Hammond is doing what his culture tells him he must do, but he's unable to carry out the deed, entrusting it to someone else and even more astonishingly, he flinches with every paddle-blow to the slave's naked buttocks. Well before all the blows are meted out, Hammond breaks down and declares, with a big whopping lie that he's counted out the full allotment, forcing the punishment to end long before it's supposed to.

This and other moments which clearly contrast Hammond's otherwise appalling treatment of his slaves are played by Oates with such truth that it's impossible to ascribe villainous properties to his character. Given the melodramatic nature of the film, his performance is always straight-up. Not only are we blessed with seeing great work from one of America's most astonishing actors, but it's also one of the reasons that one cannot outright dismiss Drum as pure exploitation, no matter how vile, over-the-top and, yes, insane the picture gets.

The biggest problem for Hammond is Sophie (Smith), his slattern teenage daughter who favours being serviced by her Daddy’s Mandingo slaves behind his back. When the young men do not submit to her carnal desires, she gets her revenge by lying to her pappy about indiscretions having been performed upon her. At one point she accuses Blais of "fiddlin'" with her. She explains how he tricked her into playing a game in which he tells her to close her eyes, hold out her hands and await a surprise treat. In mock-horror, she weeps, "There, there in my hands, Papa, was his . . . THANG!"

Massah Hammond needs his whores like a
babe-in-arms needs its Mother's Milk.
He urgently queries his wife-to-be:
"You ain't gonna start messin' round
with my poon-tang, is you?"

I defy anyone to not bust a gut over that one. It's funny and sickening, especially since we know what must happen next. A few scenes earlier, Miss Augusta professes displeasure over all the talk about fornication. Hammond reminds her: "You just gotta get used to the idea that nigger-fornicatin' is what Falconhurst is all about. If my niggers stop fornicatin' then we stop eatin'". He also informs his wife-to-be that he wants his slaves, "bucks" and "wenches", to "git out and gits to humpin'". He then offers this dire warning: "These are strong boys. Their sap is rising. If I don't give them wenches to fornicate with, they're gonna be after the white ladies and then I gotta castrate em."

By any means necessary

Alas, Blaise has repelled all of Sophie's advances, but the utter horrors of this world of subjugation are such that he will not be believed. He will be castrated and sold to the meanest slave trader in Louisiana. This, in addition to an ever-mounting whirlwind of inhumanity will eventually lead to a violent climactic slave revolt.

It's enough to recall the tagline of another famous movie from the 70s:

"Who will survive and what will be left of them?"

Believe me, this truly is one insane movie. No matter how much you hate Drum or love it, you'll know for damn sure that you'll have never seen anything like it.

THE FILM CORNER RATING: ***½ Three-and-a-half Stars

Drum is available on Kino-Lorber Blu-Ray. It's been lovingly, garishly transferred from a perfectly fine, grainy source print. It's also blessed with a detailed commentary track from director Steve Carver who lends considerable insight into the utter insanity of making the film. Canadians can get easy access to Kino-Lorber titles via VSC, Video Services Corp.

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MANDINGO - Review By Greg Klymkiw - "12 Years a Slave" inspires (nay, DEMANDS) a fresh look at MANDINGO.

With Steve McQueen's 12 Years a Slave getting critics and various awards panels in fits of ejaculatory bliss over what's little more than a dull, didactic sledgehammer look at slavery in America, it feels appropriate to bring attention - once again - to what still remains the most powerful depiction of slavery in American Cinema. After two disappointing viewings of McQueen's adaptation of the true life memoir by free-man-turned-slave Solomon Northrup, I re-watched Richard Fleischer's controversial 1975 adaptation of the bestselling Kyle Onstott novel Mandingo. As it is with every viewing of this great picture, it held up magnificently, but placed within the context of just having seen 12 Years..., I'm convinced even more how much better a film Mandingo is and that in spite of the pedigree and accolades foisted upon the McQueen picture, it's Fleischer's movie that secures its position as the least compromising and most aesthetically powerful depiction of America's most shameful period in a history of shameful periods. Here then, is an edited version of a piece I've published in two previous incarnations. Ladies and gentlemen, I give you the film that popularized the phrase: "Your wife wants you should have wenches. Keeps her from havin' to submit."

MANDINGO (1975) *****
dir. Richard Fleischer
Starring: James Mason, Perry King, Ken Norton, Susan George, Paul Benedict

Review By Greg Klymkiw

Receiving critical jeers upon its release in 1975, Richard Fleischer’s film version of Mandingo, adapted from Kyle Onstott's best-selling sex and slavery potboiler and produced by the oft-loathed-and-scorned producer Dino De Laurentiis, did, like its recent cinematic blood-brother Showgirls (Paul Verhoeven’s All About Eve in a Vegas strip club) achieve considerable cult status as a bright jewel in the crown of unintentional high camp and laughs. I recall a critic in the long-defunct Canadian-published film magazine Take One (the 70s version, not the 90s reincarnation) bestowing a Mandingo “Please Don’t Whup Me No Mo’, Massah” Award for the Worst Film of the Year.

Idiotic Golden-Turkey-styled attention was also lavished upon it when critic Stephen Rebello included Mandingo in his tome on “bad movies we love”. Furthermore, even Quentin Tarantino issued a laudatory misreading which placed it in the pantheon of stellar lower-drawer laugh riots like the abovementioned Showgirls. (In spite of Tarantino's critical gaffe, he pays splendid homage to it in his revisionist take on slavery Django Unchained.) In spite of all these uncalled-for raspberries, I assert - wholeheartedly and with NO reservations - that Mandingo is a genuinely terrific picture. It has been the recipient of boneheaded derision for too long, now, and this is a wrong that needs to be made right.

The source material, like many other great pictures (The Godfather, The Exorcist, Jaws – to name just a few), is derived from a trashy, mega-potboiling novel. Mandingo was first published in the 50s and not only went through the roof on its initial release, but also continued through the 60s and 70s to be a huge seller – receiving countless reprints. Author Kyle Onstott also wrote sequels entitled Drum (which was eventually produced by De Laurentiis to an even greater scornful reception) and Master of Falconhurst – all three forming a sort of unofficial trilogy.

The books were set against the historical backdrop of the slave trade and featured explicit sex and violence that was, to say the least, uncompromising by the standards of the time (and by today's strangely conservative and/or politically correct standards, the novels might well be considered abominations of the most sinful variety).

As a kid, I remember the bookshelves of my local Coles bookstore in a north Winnipeg mall filled to the brim with the Mandingo/Falconhurst sagas, and like most healthy young lads, I devoured them like a greedy baby hippo amongst a patch of delectable bull rushes. I still recall the lurid covers that featured bewitchingly bosomy dusky beauties and brutish slave traders brandishing whips and I delightedly ascended to the heights of Heaven's Gate itself by lapping up Onstott’s ripe prose style and wildly overripe dialogue. Most notably, I recall thinking - even back then - that either Onstott’s research was insanely meticulous in reflecting the horrendous, almost-surreal cruelty of the slave trade or he had one of the most depraved imaginations in 20th century literature.

I strongly suspect it was a bit of both.

Mandingo was, of course, the crowning glory of Onstott’s trilogy and when, in my 16th year on this Earth I discovered that a movie version would be opening in my favourite downtown Winnipeg picture palace, the Metropolitan Cinema, I was in such a state of anticipation that I experienced a genuine movie geek premature ejaculation. On the opening Friday, I joined a long line-up snaking around the block of the Metropolitan Cinema (a 2000-seat picture palace where I saw most of my favourite movies and where, interestingly enough, Guy Maddin shot Isabella Rossellini in the delightful short film “My Dad is 100 Years Old”). The first noon-hour showing of the day filled the orchestra seats and part of the balcony, which should give you an idea how big a hit the movie was and I loved the picture so much I sat through it four times that day and would see it again many more times during its initial run and subsequent re-releases and repertory showings throughout the 70s and 80s.

Let it be written in stone now: Mandingo, without question, is one of the most powerful, lurid, shocking and downright entertaining movies – not only of the 70s, but of all time.

Set against the crumbling ruins of the stale, stench-ridden Old South breeding plantation Falconhurst, the film opens to the strains of a mournful blues tune composed by the legendary Maurice Jarre and sung by Muddy Waters as a group of black slaves are led down a dusty road and presented to a sleazy trader by the patriarch of this pit of sorrow and depravity, Warren Maxwell (deliciously played by the late, great James Mason – with his trademark mellifluous voice handling both the Southern drawl and the rancid, racist dialogue with all the skill and panache one would expect from a star actor of his stature). We watch with open-mouthed horror and disbelief as the trader, played sleazily by the magnificent character actor Paul Benedict (yes, Bentley from The Jeffersons), puffs on a saliva-dripping, well-chewed and obviously smelly cigar as he inspects the teeth, testicles, hands and, among other body parts, anal cavities of the slaves who must remain stoic, with eyes averted as they are poked and prodded like animals at a county fair livestock auction.

In direct contrast to this, Mr. McQueen's supposedly shocking slave sale sequences in 12 Years a Slave are, to put it mildly, kid's stuff and their only resonance comes, not dramatically, but from the director's stylistic didacticism.

What makes Fleischer's approach so shocking (remember, this was pre-Roots and post-Gone With The Wind) is how matter-of-fact everything is staged and presented. The lip smacking and eye rolling – long attributed to the film are nowhere to be found in this opening, nor frankly, in much of the picture (except when genuinely warranted). It is played very straight. The actions of the characters are often crude, tasteless and over-the-top, but the cinematic treatment is most certainly not. In fact, the picture’s stylistic restraint on most fronts is what makes Mandingo so effective – as drama, as entertainment and as an expose of a dark period of 19th century history.

This is not to say there aren’t melodramatic aspects to the narrative borrowed by veteran screenwriter Norman Wexler from Onstott’s novel, but like any great drama they’re used to perfection. Besides, the notion that there’s something inherently wrong with melodrama is ridiculous anyway – there’s only good melodrama and bad melodrama, and director Richard Fleischer handles the melodramatic aspects of Mandingo’s story expertly. Besides, how can there not be aspects of melodrama in a movie aimed at the masses? Especially a movie set against a backdrop like this one.

And what a backdrop!

What a story!

Everything in this film is driven by the two simple needs of a father and how their fulfillment has tragic consequences. Warren Maxwell’s craving for a pure Mandingo slave for breeding and prizefighting is rewarded when his son Hammond (Perry King) returns from a business trip with the sleek, beautiful, powerful, caramel-skinned Mede (heavyweight champ Ken Norton). The New Orleans slave auction sequence where the purchase takes place is again another example of McQueen's picture being trumped by a movie that's almost 40-years-old. The savagery on the part of the buyers is diametrically opposite the gentility presented in 12 Years a Slave. The most aggressive bidder for Mede turns out to be a middle-aged roly-poly Dutch woman whose physical examination of Mede includes shoving her hand into his shorts to feel the girth and length of his penis. When she's outbid by Hammond, she crudely laments: "What kind of man steals the nigger from the poor widow woman?"

Again, I must rest my case against McQueen's movie.

As per usual, things keep heating up in Fleischer's film. While Hammond trains Mede in the art of bare-knuckle fighting, Maxwell frets that his son is not married and that there will be no heir to Falconhurst. Again, Hammond fulfills his father’s wishes and, like so much chattel, adds Blanche (Susan George) to the Falconhurst stables, a blonde and beautiful Southern bell bride. Much to Blanche’s consternation, Hammond also returns to Falconhurst with a new slave acquisition. Ellen (Brenda Sykes) is a stunningly sultry bed wench that Hammond favours because he believes Maxwell's fatherly advice that white women do not want to be “pestered” sexually (other than for basic purposes of procreation). He's wrong about Blanche, though. She "craves to be pleasured" and when she notices Hammond displaying tenderness to the "common bed wench", wifey retaliates. Blanche blackmails Mede into servicing her needs sexually. Falconhurst becomes a miscegenation fetishist’s wet dream with all the white-black couplings inevitably leading to all holy hell breaking loose.

So what’s the problem? We have an unsparing look at the world of slavery adorned with dollops of melodrama. Why did critics hate this film and why did it earn the reputation as a howlingly bad (but entertaining) camp classic? Could it simply be that Mandingo retained many of the more salacious elements of its pulp literature source and, in fact accentuated them? Does this mean Onstott's narrative featured poorly researched flights of fancy?

I doubt it.

What I do known, though, is that there is nothing Mandingo spares us.

Its graphic depiction of slavery, includes the following:

- Incest.
- Infanticide.
- Whoring.
- Wenching.
- Graphic bare-buttocked floggings with belts, paddles and whips.
- Graphic lynching.
- A character being pitch forked into a vat of boiling brine water.
- No holds barred and to the death bare-knuckle fist fighting (replete with biting and scratching).
- Oodles of nudity and sex (including some magnificent buttock shots of Ken Norton and a truly delightful full frontal view of Perry King’s majestic genitals). Oh yeah, we get to see many of the ladies nude also.
- More whoring.
- More wenching.
- Have I mentioned the incest yet?

While the aforementioned is an extensive grocery list of depravity would this really have been enough to raise the lily pure ire of critics? This was, after all the 70s, a decade of movies replete with mean-spiritedness, nastiness, violence and all manner of permissiveness. This was a time of unparalleled frankness in cinema. Could this really have been seen as the nadir of excess or was it something else?

Did Mandingo cut too deep for critics to embrace its excess?

Was director Richard Fleischer’s uncompromising eye too much for them?

Fleischer was, after all, one of the most gifted major American directors who, like Howard Hawks before him, worked in a variety of genres (and often for “hire”) on over 50 pictures. This, of course, made it difficult for a lot of the myopic auteurist critics to pinpoint Flesicher’s “thing” and perhaps they needed to use “moral outrage” to equate Mandingo with some of Fleischer’s more obvious gun-for-hire forays into filmic folly such as the execrable Dr. Dolittle (with Rex Harrison, NOT Eddie Murphy) or the impersonal Pearl Harbor epic Tora Tora Tora (which still manages to put Michael Bay’s rendering of those events to shame). And of course, the critics of 1975 had yet to experience Fleischer’s 80s remake of The Jazz Singer with Neil Diamond. If that had preceded Mandingo in the Fleischer canon, it’s conceivable those critics might have gone to the extent of forming an actual, literal lynch mob. If truth be told, though, I've recently re-discovered the joys of Fleischer's Jazz Singer - especially Laurence Olivier's insane performance as Neil Diamond's father. (!!!)

As to the notion of "moral outrage" I must admit to having an intellectual knowledge of it and certainly have applied said knowledge emotionally to genuine atrocities, but I cannot say I have ever truly felt it towards any cultural artifact.

But in spite of all this, how could critics miss the boat on Mandingo? Fleischer, after all, won his only Oscar for a documentary and for most of his career he approached his subjects with the eye of a documentarian. From his noir classics at RKO (including The Narrow Margin) through to his stunning examinations of real-life serial killers in 10 Rillington Place (Christie), The Boston Strangler (DeSalvo) and Compulsion (Leopold and Loeb), Fleischer trained his camera on the dramatics by focusing, in an almost straightforward fashion on the mechanics of his subjects – he editorialized by non-editorializing. He even did this in his forays in action epics (The Vikings), fantasy (Disney’s 20,000 Leagues Under The Sea) and science fiction (Soylent Green). This straightforward approach almost always yielded thrilling work.

Scene after scene in Mandingo includes numerous instances of Fleischer's superb direction. The first public prizefight involving Mede is staggering in its brutal detail; not just the fight itself, but the slavering crowd of decadent white southerners assembled within the courtyard of a brothel to witness two human beings (though to the racist whiteys, animals) pummel, scratch, slash, bite, flip, kick, eye-gouge and hammer away at every part of their bodies, including their genitals, until one of them dies. Fleischer begins the scene with a terrific God's eye wide shot and eventually moves in to cover the fight itself - using a fine array of shots - many effective wide or medium framings to capture some excellent fight choreography. Unlike moron contemporary directors, Fleischer only moves in for closeups when it's absolutely necessary.

Edited by the superb craftsman Frank (Hud, Funny Face, The Molly Maguires) Bracht, there are no shots or cuts in this relentless sequence that are used for anything other than dramatic emphasis. Bracht, by the way, moved easily between romantic comedies, musicals, westerns and the occasional lurid melodrama (The Carpetbaggers - WOOT! WOOT!), so he was easily a good man for the job, handling Fleischer's superb coverage with both efficiency and, when needed, verve. I only wish more contemporary films used directors like Fleischer and editors like Bracht - who were able to shift from straight-up dramatic dialogue scenes to blistering action and back again. Just suffer through any J.J. Abrams and/or Christopher Nolan abomination to get my point. (If it wasn't for McQueen's lack of humour and annoying didacticism, he'd be a perfect director as he shares a solid eye with many great veterans.)

In Mandingo, actors deliver their lines with straight faces. When Paul Benedict’s slave trader admiringly refers to Warren’s son Hammond as a “right vigorous young stud”, it’s funny, but not because it’s campy, but because it’s true and rendered in a parlance that appears to be genuine - both to the period and the character. Benedict plays his role perfectly - that of a pretentious, flowery country gentleman who, most ironically, makes his fortune as a BREEDER of slaves.

As the attractive, blond, blue-eyed Hammond, Perry King swaggers into his first scene as the epitome of young manhood, especially since the film matter-of-factly informs us that on a breeding plantation, it is the master (or in this case, the “young master") who has the “duty” to break in the virgin wenches on the plantation. When Hammond protests that the latest subject of deflowering, the Mandingo slave wench Big Pearl “be powerful musky”, he does it with such a straight face that it’s not only darkly funny, but all the more powerful in the delineation between owners and slaves. Why wouldn't Big Pearl be "powerful musky"? The slaves live in abominable conditions in shacks surrounding the mansion. Hammond has no eyes for the horror he and his father are responsible for. This is also a perfect plot point in terms of character that is eventually challenged when Hammond begins to have genuine "human" feelings of love for his bed wench Ellen. The tragic implications of this eventually become very clear when Hammond, up against emotions that collide with what has been NURTURED into him, take various turns for the worst.

When Warren complains about his rheumatism, Paul Benedict, recommends that the old patriarch place his bare feet onto the belly of a “nekkid Mexican dog” to drain the “rheumatiz” right out of the soles of his feet into the belly of the dog. This conversation, over dinner no less, is presented so unflinchingly and straight-facedly that we laugh – ALMOST good-naturedly at the period ignorance of the characters. However, during the same conversation, when the Maxwells' family doctor elaborates, with an equally straight face, that a slave boy would do just as well as a “nekkid Mexican dog”, the laughs continue, but much more nervously, and finally, not at all when it's explained - in detail - how a human being can be substituted for an animal. Several scenes follow in which Warren sits in a rocker sipping hot toddies whilst resting his bare feet on the belly of a slave boy. Then, to offer a brilliant juxtaposition to Warren's stupidity and cruelty, the slave boy, hoping to get out of this demeaning activity and outwit his knot-headed owner, holds his hand to his belly and moans, “Ooooohhhh, Massah’s misery drain right into me.”

This is just downright creepy, as finally, the whole movie is.

It is the film’s unflinching presentation of insane dialogue from Onstott and Wexler’s respective pens that has, I think, contributed to Mandingo’s reputation as a camp classic. When Warren explains to Hammond that wives want their husbands to have wenches because it keeps them from “having to submit”, it IS funny. When the babies of slaves are referred to as “suckers”, it’s at first darkly funny because it’s so shocking, but as it’s bandied about so frequently, it becomes sickening. When a slave’s miscarriage is straight-facedly referred to as “she done slip her sucker”, it’s especially NOT funny. It’s horrific, particularly as it follows a scene when a character threatens to “whup that sucker right outta” her belly.

If anything, Mandingo’s reputation might ultimately be getting mixed in a bit with its notorious sequel Drum which was not only critically reviled, but even upon the eve of its theatrical release, was disowned by the studio. Drum is pure B-movie – no two ways about it, but it’s also, in its own way, marvelous entertainment, crisply directed by Corman protégé Steve Carver and featuring the brilliant Warren Oates taking over the role of Perry King’s Hammond and Ken Norton making a return appearance as yet another character altogether. The film also features the legendary Cheryl Rainbeaux Smith (Lemora) as Hammond’s slattern daughter Sophie who favours being serviced by her Daddy’s Mandingo slaves and lying about them to Daddy when they do not submit to her. At one point, Hammond asks if stud slave Blaze (Yaphet Kotto), "be fiddlin'" with her. Sophie replies that Blaze tricked her into playing a game with him wherein he tells her to close her eyes, hold out her hands and await a surprise treat. "And Pappy," she says in utter horror, "when I opens mah eyes, I looks down, and there, Pappy, there in my hands is is his . . . THANG!"

I remember first seeing Drum on a double bill with Mandingo in a Winnipeg Main Street grindhouse called the Epic. When I was a kid, the Epic was called the Colonial and was next door to two other grindhouses, the Regent and the Starland. Here in the stench of cum and urine, sitting on stained, tattered seats, my feet stuck almost permanently to the sticky floors and occasionally having to listen to old men getting fellated by toothless glue-sniffing hookers, I delighted, week after week to Hammer horror films, biker flicks and Corman extravaganzas. By the 80s, this grindhouse was the sole purveyor of cinematic sleaze in Winnipeg – alternating between standard action exploitation fare and soft-core pornography. Since I had missed Drum on its initial release, I was rather excited to catch up with it on a double bill at the Epic/Colonial. I even recall that the double bill was advertised thusly: “And now . . . the BARE ‘Roots’”. I was accompanied to this screening by two esteemed members of the faculty of English and Film at the University of Manitoba, Professors Stephen Snyder and George Toles (screenwriter of such Guy Maddin films as Archangel, Careful, Keyhole and Saddest Music in the World). It was a glorious afternoon and it was certainly a coin toss to determine what was louder, the sounds of our laughter or the sounds of toothless hookers fellating old men.

Finally though, there is no denying that Mandingo is a genuinely great picture. In fact, I would argue that it is both a serious dramatic expose of slavery AND an exploitation film. Not that this means the picture is a mess and has no idea what it’s trying to do, but frankly, this notion that there even exists such a thing as “exploitation” films is something I find just a little bit idiotic. Film by its very nature as a visual AND commercial art form IS exploitative – it ultimately has to be in order to be successful. Like melodrama, it’s either good or bad. It works or it doesn’t. And Mandingo works – it communicates a truth as hard and blistering as we’ve seen on this subject. Frankly, not even the legendary television adaptation of Alex Haley's Roots and most certainly not McQueen's 12 Years a Slave come close to matching the sheer creepy, jaw-dropping horror of Mandingo.

Mandingo's original poster, a vivid take on the famous Clark Gable and Vivien Leigh pose from Gone With The Wind (but with a double dose of flame enshrouded miscegenation) was not only great marketing, but a more-than-apt visual encapsulation of the movie. I reject the notion of Mandingo as camp. It's as definitive a film on slavery and as fine a motion picture to grace the canon of a truly great American director, the much-maligned and oft-forgotten Richard Fleischer.

To read my full review of Steve McQueen's "12 Years a Slave" click HERE.

12 Years a Slave - Review By Greg Klymkiw - Slavery is Bad.

A free Black man in the North is kidnapped and sold into slavery. He does everything possible to survive so he can hopefully get free to see his family again. Luckily, Brad Pitt shows up as morally-minded Liberal Canadian and makes all well.

12 Years a Slave (2013) **1/2
Dir. Steve McQueen
Starring: Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong'o, Sarah Paulson, Benedict Cumberbatch, Brad Pitt, Paul Dano, Paul Giamatti

Review By Greg Klymkiw

Steve McQueen continues to amaze me as a genuinely great director who makes movies I don't much care for. His best work, Hunger, still impresses in terms of being just the right balance between his skill and harrowing subject matter, but Shame, in spite of its clear display of McQueen's natural abilities still made me want to throw in the towel on the guy since it was so jack-hammeringly, thuddingly and relentlessly oppressive in its need to tell us that sex addiction is not good. Not to put too fine a point on it, but Shame is bereft of genuine passion, humour and basic entertainment value. It also had the horrifically simpering Carey Mulligan who is the most inexplicable go-to gal for leading roles since Catherine Spaak (who was once described by Pauline Kael as being so boring that when she doffed her clothes "even her breasts were boring").

Luckily, for us, Carey Mulligan is not in 12 Years a Slave. Curiously, she actually might have worked in the role of Michael Fassbender's frigid, bed-wench-hating wife, but ultimately McQueen cast Sarah Paulson who does an admirable job and ultimately seems a perfect match for the brutal slaveowner). And as for 12 Years a Slave, I will not for a second try to say that McQueen doesn't display some utterly dazzling directorial touches - quite a few, really. Alas, he still has the annoying habit of wielding a cudgel filled with deep earnestness.

Granted, this is a film about the true life story of free-man-turned-slave Solomon Northrup who was horrendously forced into 12 years of merciless servitude until gaining his freedom thanks to a kindly Canadian contractor doing work on the plantation, and as such, one expects the picture to seriously address its subject, but McQueen's unflagging Western Union telegraphing in every scene becomes tiresome and takes away from the drama so otherwise inherent in the picture.

When the drama appears to be working, McQueen errs by pushing the movie into overwrought, clumsy sentiment. (The most egregious moment occurs in the film's conclusion when Northrup is reunited with his family.) When the drama works best, it's when we can spend as much time as possible with the great actor Chiwetel Ejiofor as Northrup, who invests his character with such great SCREEN intensity, that one occasionally DOES get lost in the film in all the right ways. We get lost in Ejiofor playing a man who must always mask his emotions in order to stay alive - not, as he says, "to survive, but to live." In fact, the most powerful and poignant element of the film is the notion of doing everything possible in order to get back to a life once lived and to experience the joys of those he loves and misses. To actually be able to achieve this is probably one of the most difficult things for any actor to pull off and there's no trick-pony work going on here at all.

It's McQueen who feels like the trick pony - trying to mask his sledgehammer with style and occasionally succeeding, but more often, not effectively navigating the waters he's poured into his own receptacle. At times, we feel the tale proceeds by rote - part of the problem, perhaps in John Ridley's by-the-numbers screenplay and the other, in McQueen's insistence that every scene hammer home the overwhelming notion of how horrendous slavery is. You know, I think we get it, Steve. If only he could use his visual gifts to enhance the storytelling itself.

One of the great things McQueen does, is trust in his leading actor to create a number of moments wherein the camera rests solely on Ejiofor's face. More often than not, the screenplay and the manner in which McQueen chooses to render the action, is by setting up a key element on each end of the close-up, neither of which specifically telegraphs nor buttons done the overwhelming emotion that Ejiofor must convey. It's in these moments where we learn so much about the character, but also where he is emotionally and NARRATIVELY in the story and it's all achieved visually and beautifully, by both the actor AND director.

Often though, McQueen resorts to the old sledgehammer in the same way he did in Shame. His placement of the camera, the lighting and even the blocking of two paralleled sex scenes in 12 Years a Slave are so painfully obvious in their execution and the fact that they both occur in this manner. One involves a female slave, so starved for human contact that she mounts Northrup and he grudgingly complies with her need for some bone. The other involves Michael Fassbender forcing his manhood upon his favourite slave wench. He needs to slip her the root, but she is most certainly in another time and place as he does it - in cahoots, of course, to the look on Northrup's face in the similar scene.

Come on, Steve. Give us break. The sledgehammer here reminds me of that scene in Ingmar Bergman's The Serpent's Egg that compelled Pauline Kael to comment on a scene involving Glynn Turman beating his meat to try achieving an erection and she hilariously found a delicious way to crap on Bergman's obviousness by reminding us of the old "How bad was it?" jokes when she offered up the answer that things were so bad in the pre-war Weimar Republic that "not even a Black man could get it up."

What's too bad is that so much of the film attempts to avoid easy messaging and even easier sentiment, but when both rear their overblown heads, they have this horrible effect that makes us think too long and hard about what McQueen is trying to tell us. We're aware of his hand in the most obvious fashion. This is, of course, a far cry from someone like Scorsese, whose show-offy style is always there for the sake of the narrative and so seamless that we're dazzled, yes, but jettisoned into the stratosphere because we DON'T feel his hand until we really think about it (and usually long after the combination of visceral, emotional, visual and narrative excess, so gorgeously melded, have had their way with us and moved on to something else). McQueen seemed to have this so much more under control in Hunger that one feels he's been going out of his way in these two subsequent films to top himself rather than building incrementally on his strengths as a director.

For me, after two helpings of 12 Years a Slave, I'm far more interested in how and where to place it within the context of seminal American films about the subject of slavery. McQueen's film will possibly grow on me in subsequent viewings and in spite of my reservations, I'd still place it within the pantheon of films addressing slavery I've included four images below that I think do as good a job as any in placing 12 Years in some form of cinematic historical context.

David Wolper's production of Alex Haley's plagiarized book ROOTS in 1977, still remains a powerful groundbreaker in the treatment of slavery on-screen. The first two episodes in particular are a near masterpiece of narrative brilliance AND as social document. LeVar Burton as the young Kunta Kinte, smouldered with such force that I always wondered why his most well-known work after the legendary miniseries was as that blind guy with the weird thing over his eyes in Star Trek: TNG.

Tarantino, of course, delivered a similar revisionism to slavery in the extremely subversive Django Unchained as he brought to the Holocaust in Inglourious Basterds. And, of course, the movie not only brought social satire to the fore, but did so by making a movie that was strikingly cool.

Richard Fleischer's adaptation of Kyle Onstott's potboiler novel Mandingo is a bit more difficult to approach due to its myopic reputation as a "bad, exploitative" film, but frankly, in Fleischer's hands, I'd argue the issue of slavery might still be most powerfully felt and rendered with the greatest skill on both stylistic and narrative grounds. The ugly, filthy Falconhurst plantation had none of the antebellum charm we're used to seeing in so many movies, the dialogue is always thick with Southern gumbo, the violence as raw as one would expect, the racist attitudes as sickening as we're likely to see in any motion picture and, yes, Fleischer not being afraid to frame the world within a structure of melodrama.

The bottom line is that these three films take big chances and break genuine cinematic ground. All McQueen really achieves is an earnestness that ends up overshadowing the importance of the story he's trying to tell and the world he's trying to depict, Aside from a handful of genuinely great performances in addition to Ejiofor, include Lupita Nyong'o's heartbreaking performance as the sexually abused and favoured slave of Fassbender, Benedict Cumberbatch as the "kindly" plantation owner and Paul Dano as the hotheaded racist overseer.

Alas, many of the other key performances on the Whitey side of the fence are pure Snidely Whiplash - less so with Fassbender and ludicrously so with Paul Giamatti as a slave trader. On the side of the exploiters, one marvels at James Mason in Mandingo as he straight-facedly utters some of the most horrendously ignorant observations - not only about slaves, but women in general. Leonardo Di Caprio and Don johnson in Django Unchained seem far more acceptable over-the-top performances that are truly brave rather than Fassbender's one-note nastiness in 12 Years a Slave. It's one-note in that offensively Oscar-baiting fashion that seems far more exploitative in its Oscar-baiting intensity than anything on display in the Fleischer and Tarantino pictures.

One might also assume I pretty much detest McQueen's film. Far from it. It's an important work replete with several set pieces that reflect McQueen's natural gifts and a handful of great performances, but at the end of the day, the whole thing feels like Oscar-bait and this, ladies and gentlemen is especially reprehensible and not worthy of its original source material.

Like Shame, I'm forced to grudgingly acknowledge anything positive in McQueen's film at all.

"12 Years a Slave" is in wide release all over the world and ever-expanding its playmates.

MANDINGO - Review By Greg Klymkiw - "Your wife craves for you to have wenches. Keeps HER from havin' to SUBMIT." One of the best lines of dialogue in movie history, uttered with distinction by the late James Mason.

MANDINGO (1975) dir. Richard Fleischer
Starring: James Mason, Perry King, Ken Norton, Susan George, Paul Benedict

*****

By Greg Klymkiw

Receiving critical jeers upon its release in 1975, Richard Fleischer’s film version of Mandingo, adapted from Kyle Onstott's best-selling sex and slavery potboiler and produced by the oft-loathed-and-scorned producer Dino De Laurentiis, did, like its recent cinematic blood-brother Showgirls (Paul Verhoeven’s All About Eve in a Vegas strip club) achieve considerable cult status as a bright jewel in the crown of unintentional high camp and laughs.

I recall a critic in the long-defunct Canadian-published film magazine Take One (the 70s version, not the 90s reincarnation) bestowing a Mandingo “Please Don’t Whup Me No Mo’, Massah” Award for the Worst Film of the Year. Quentin Tarantino issued a laudatory misreading which placed it in the pantheon of stellar lower-drawer laugh riots like the abovementioned Showgirls. Golden-Turkey-styled attention was also lavished upon it when critic Stephen Rebello included Mandingo in his tome on “bad movies we love”.

In spite of all these uncalled-for raspberries, I assert - wholeheartedly and with NO reservations - that Mandingo is a genuinely terrific picture. It has been the recipient of boneheaded derision for too long, now, and this is a wrong that needs to be made right.

The source material, like many other great pictures (The Godfather, The Exorcist, Jaws – to name just a few), is derived from a trashy, mega-potboiling novel. Mandingo was first published in the 50s and not only went through the roof on its initial release, but also continued through the 60s and 70s to be a huge seller – receiving countless reprints. Author Kyle Onstott also wrote sequels entitled Drum (which was eventually produced by De Laurentiis to an even greater scornful reception) and Master of Falconhurst – all three forming a sort of unofficial trilogy. All were set against the historical backdrop of the slave trade and featured explicit sex and violence that was, to say the least, uncompromising by the standards of the time (and by today's strangely conservative and/or politically correct standards, the novels might well be considered abominations of the most heinous variety).

As a kid, I remember the bookshelves of my local Coles bookstore in a north Winnipeg mall filled to the brim with the Mandingo/Falconhurst sagas, and like most healthy young lads, I devoured them (along with their aforementioned pot-boiling brethren) like a greedy baby hippo amongst a patch of delectable bull rushes. Upon his death, Onstott left one unfinished work which was fleshed out and published with the assistance of Lance Horner who went on to write several more sequels and then the torch was passed to Ashley Carter to generate even more sequels. None of these, however, were any good.

As a kid I was utterly bewitched by the lurid covers of bosomy dusky beauties and brutish slave traders brandishing whips and delightedly ascended to the heights of Heaven's gate by Onstott’s ripe prose style and wildly overripe dialogue. And make no mistake – while I read all the books in the series (including the Horner and Carter instalments), it was the Onstott titles that shone. Either Onstott’s research was insanely meticulous and reflected the horrendous, almost-surreal cruelty of the slave trade or he had one of the most depraved imaginations in 20th century literature. I strongly suspect it was a bit of both.

Mandingo was, of course, the crowning glory of Onstott’s trilogy and when, in my 16th year on this Earth I discovered that a movie version would be opening in my favourite downtown Winnipeg picture palace, the Metropolitan Cinema, I was in such a state of anticipation that I experienced the closest movie geek premature ejaculation. I harassed the theatre almost daily and pestered them with telephone calls inquiring as to the movie’s release date. Remember, this was 1975, when movie theatres actually had live humans answering the telephones, when release dates were not set in stone months (or years) in advance and when cinemas had “coming soon” or “next attraction” sign cards affixed to a film’s poster.

I used to see almost every picture playing at this theatre and eventually, the sign card on the poster case and the tag in front of the trailer changed to “next attraction” and within a couple of weeks or so, my dreams became a reality. On the opening Friday, I waited in line at the Metropolitan Cinema (a 2000-seat picture palace where I saw most of my favourite movies and where, interestingly enough, Guy Maddin shot Isabella Rossellini in the delightful short “My Dad is 100 Years Old”). I entered the theatre for the first noon-hour showing of the day. I recall most of the orchestra seats were taken, which should give you an idea how big a hit the movie was. (It also played first-run in Winnipeg for months.) Though the film was rated “Restricted”, I had manufactured a fine fake I.D. for myself, which, incidentally, was so fine that this was something I did for pocket money – manufacturing fake I.D.s at a price, of course – for many friends and acquaintances in my high school.

That, of course, is another story.

My anticipation was rewarded – I loved the picture so much I sat through it four times that day and would see it again many more times during its initial run and subsequent re-releases and repertory showings throughout the 70s and 80s.

Let it be written in stone now: Mandingo, without question, is one of the most powerful, lurid, shocking and downright entertaining movies – not only of the 70s, but of all time.

Set against the crumbling ruins of the stale, stench-ridden Old South breeding plantation Falconhurst, the film opens to the strains of a mournful blues tune composed by the legendary Maurice Jarre and sung by Muddy Waters as a group of black slaves are led down a dusty road and presented to a sleazy trader by the patriarch of this pit of sorrow and depravity, Warren Maxwell (deliciously played by the late, great James Mason – with his trademark mellifluous voice handling both the Southern drawl and the rancid, racist dialogue with all the skill and panache one would expect from a star actor of his stature).

We watch with open-mouthed horror and disbelief as the trader, played sleazily by the magnificent character actor Paul Benedict (yes, Bentley from The Jeffersons), puffs on a saliva-dripping, well-chewed and obviously smelly cigar as he inspects the teeth, testicles, hands and, among other body parts, anal cavities of the slaves who must remain stoic, with eyes averted as they are poked and prodded like animals at a county fair livestock auction.

What makes all of this so shocking (remember, this was pre-Roots and post-Gone With The Wind) is how matter-of-fact everything is staged and presented. The lip smacking and eye rolling – long attributed to the film are nowhere to be found in this opening, nor frankly, in much of the picture (except when genuinely warranted). It is played very straight. The actions of the characters are often crude, tasteless and over-the-top, but the cinematic treatment is most certainly not. In fact, the picture’s stylistic restraint on most fronts is what makes Mandingo so effective – as drama, as entertainment and as an expose of a dark period of 19th century history.

This is not to say there aren’t melodramatic aspects to the narrative borrowed by veteran screenwriter Norman Wexler from Onstott’s novel, but like any great drama they’re used to perfection. Besides, the notion that there’s something inherently wrong with melodrama is ridiculous anyway – there’s only good melodrama and bad melodrama, and director Richard Fleischer handles the melodramatic aspects of Mandingo’s story expertly. Besides, how can there not be aspects of melodrama in a movie aimed at the masses? Especially a movie set against a backdrop like this one.

And what a backdrop!

What a story!

Everything in this film is driven by the two simple needs of a father and how their fulfillment has tragic consequences. Warren Maxwell’s craving for a pure Mandingo slave for breeding and prizefighting is rewarded when his son Hammond (Perry King) returns from a business trip with the sleek, beautiful, powerful, caramel-skinned Mede (heavyweight champ Ken Norton). While Hammond trains Mede in the art of bare-knuckle fighting, Maxwell frets that his son is not married and that there will be no heir to Falconhurst. Again, Hammond fulfills his father’s wishes and, like so much chattel, adds Blanche (Susan George) to the Falconhurst stables, a blonde and beautiful Southern bell bride.

Much to Blanche’s consternation, Hammond also returns to Falconhurst with a new slave acquisition. Ellen (Brenda Sykes) is a stunningly sultry bed wench Hammond favours because he believes his new bride is not a virgin and also because he wrongly believes that white women do not want to be “pestered” sexually (other than for basic purposes of procreation).

In retaliation, Blanche blackmails Mede into servicing her needs sexually. Falconhurst becomes a miscegenation fetishist’s wet dream with all the white-black couplings inevitably leading to all holy hell breaking loose.

So what’s the problem? We have an unsparing look at the world of slavery adorned with dollops of melodrama. Why did critics hate this film and why did it earn the reputation as a howlingly bad (but entertaining) camp classic?

Could it simply be that Mandingo retained many of the more salacious elements of its pulp literature source and, in fact accentuated them? In addition to the graphic depiction of slavery and miscegenation, the picture features the following:

- Incest.
- Infanticide.
- Whoring.
- Wenching.
- Graphic bare-buttocked floggings with belts, paddles and whips.
- Graphic lynching.
- A character being pitch forked into a vat of boiling brine water.
- No holds barred and to the death bare-knuckle fist fighting (replete with biting and scratching).
- Oodles of nudity and sex (including some magnificent buttock shots of Ken Norton and a truly delightful full frontal view of Perry King’s majestic genitals). Oh yeah, we get to see many of the ladies nude also.
- More whoring.
- More wenching.
- Have I mentioned the incest?

While this is certainly an extensive grocery list of depravity would this really have been enough to raise the lily pure ire of critics? This was, after all the 70s, a decade of movies replete with mean-spiritedness, nastiness, violence and all manner of permissiveness, so was Mandingo the nadir of this excess or was it something else?

Did Mandingo cut (as it were) too deep for critics to embrace its excess?

Was director Richard Fleischer’s uncompromising eye too much for them?

Fleischer was, after all, one of the most gifted major American directors who, like Howard Hawks before him, worked in a variety of genres (and often for “hire”) on over 50 pictures. This, of course, made it difficult for a lot of the myopic auteurist critics to pinpoint Flesicher’s “thing” and perhaps they needed to use “moral outrage” to equate Mandingo with some of Fleischer’s more obvious gun-for-hire forays into filmic folly such as the execrable Dr. Dolittle (with Rex Harrison, NOT Eddie Murphy) or the impersonal Pearl Harbor epic Tora Tora Tora (which still manages to put Michael Bay’s rendering of those events to shame). And of course, the critics of 1975 had yet to experience Fleischer’s 80s remake of The Jazz Singer with Neil Diamond. If that had preceded Mandingo in the Fleischer canon, it’s conceivable those critics might have gone to the extent of forming an actual, literal lynch mob.

If truth be told, I've recently re-discovered the joys of Fleischer's Jazz Singer - especially Laurence Olivier's insane performance as Neil Diamond's father. (!!!)

As to the notion of "moral outrage" I must admit to having an intellectual knowledge of it and certainly have applied said knowledge emotionally to genuine atrocities, but I cannot say I have ever truly felt it towards any cultural artifact.

But in spite of all this, how could critics miss the boat on Mandingo? Fleischer, after all, won his only Oscar for a documentary and for most of his career he approached his subjects with the eye of a documentarian. From his noir classics at RKO (including The Narrow Margin) through to his stunning examinations of real-life serial killers in 10 Rillington Place (Christie), The Boston Strangler (DeSalvo) and Compulsion (Leopold and Loeb), Fleischer trained his camera on the dramatics by focusing, in an almost straightforward fashion on the mechanics of his subjects – he editorialized by non-editorializing. He even did this in his forays in action epics (The Vikings), fantasy (Disney’s 20,000 Leagues Under The Sea) and science fiction (Soylent Green). This straightforward approach almost always yielded thrilling work.

While scene after scene includes numerous instances of Fleischer's superb direction, the first public prizefight involving Mede is staggering in its brutal detail - not just the fight itself, but the slavering crowd assembled within the courtyard of a brothel to witness two human beings (though to their minds, animals) pummel, scratch, slash, bite, flip, kick, eye-gouge and hammer away at every part of their bodies, including their genitals, until one of them dies. Fleischer begins the scene with a terrific God's eye wide shot and eventually moves in to cover the fight itself - using a fine array of shots - many wide or medium to capture some excellent fight choreography and only moving in for closeups when absolutely necessary.

Edited by the superb craftsman Frank (Hud, Funny Face, The Molly Maguires) Bracht, there are no shots or cuts in this relentless sequence that are used for anything other than dramatic emphasis. Bracht, by the way, moved easily between romantic comedies, musicals, westerns and the occasional lurid melodrama (The Carpetbaggers - WOOT! WOOT!), so he was easily a good man for the job, handling Fleischer's superb coverage with both efficiency and, when needed, verve. I only wish more contemporary films used directors like Fleischer and editors like Bracht - who were able to shift from straight-up dramatic dialogue scenes to blistering action and back again. Just suffer through any J.J. Abrams and/or Christopher Nolan abomination to get my point.

In Mandingo, actors deliver their lines with (mostly) straight faces. When Paul Benedict’s slave trader admiringly refers to Warren’s son Hammond as a “right vigorous young stud”, it’s funny, but not because it’s campy, but because it’s true and rendered in a parlance that appears to be genuine - both to the period and the character. Benedict plays his role perfectly - that of a pretentious, flowery country gentleman who, most ironically, makes his fortune as a BREEDER of slaves.

As the attractive, blond, blue-eyed Hammond, Perry King swaggers into his first scene as the epitome of young manhood – especially when the film matter-of-factly informs us that on a breeding plantation, it is the master (or in this case, the “young master") who has the “duty” to break in the virgin wenches on the plantation. When Hammond protests that the latest subject of deflowering, the Mandingo slave wench Big Pearl “be powerful musky”, he does it with such a straight face that it’s not only darkly funny, but all the more powerful in the delineation between owners and slaves. Why wouldn't Big Pearl be "powerful musky"? The slaves live in abominable conditions in shacks surrounding the mansion. Hammond has no eyes for the horror he and his father are responsible for. This is also a perfect plot point in terms of character that is eventually challenged when Hammond begins to have genuine "human" feelings of love for his bed wench Ellen. The tragic implications of this eventually become very clear when Hammond, up against emotions that collide with what has been NURTURED into him, take various turns for the worst.

When Warren complains about his rheumatism, Paul Benedict, recommends that Warren place his bare feet onto the belly of a “nekkid Mexican dog” to drain the “rheumatiz” right out of the soles of his feet into the belly of the dog. This conversation, over dinner no less, is presented so unflinchingly and straight-facedly that we laugh – ALMOST good-naturedly at the period ignorance of the characters. However, during the same conversation, when the Maxwells' family doctor elaborates, with an equal straight face, that a slave boy would do just as well as a “nekkid Mexican dog”, the laughs continue, but much more nervously, and finally, not at all when it's explained - in detail - how a human being can be substituted for an animal.

One of the more amazing instances of how great the script is and how well it's rendered by Fleischer are several scenes that follow in which Warren sits in a rocker sipping hot toddies whilst resting his bare feet on the belly of a little slave boy. At first it's funny (especially since it is the normally erudite and charming James Mason in such a ridiculous pose), but the laughs eventually give way to being downright horrendous. And then, to offer a brilliant juxtaposition to Warren's stupidity and cruelty, the slave boy, hoping to get out of this demeaning activity and outwit his knot-headed owner, holds his hand to his belly and moans, “Ooooohhhh, Massah’s misery drain right into me.”

It is the film’s unflinching presentation of insane dialogue from Onstott and Wexler’s respective pens that has, I think, contributed to Mandingo’s reputation as a camp classic. When Warren explains to Hammond that wives want their husbands to have wenches because it keeps them from “having to submit”, it IS funny. When the babies of slaves are referred to as “suckers”, it’s at first darkly funny because it’s so shocking, but as it’s bandied about so frequently, it becomes sickening. When a slave’s miscarriage is straight-facedly referred to as “she done slip her sucker”, it’s especially NOT funny. It’s horrific, particularly as it follows a scene when a character threatens to “whup that sucker right outta” her belly.

If anything, Mandingo’s reputation might ultimately be getting mixed in a bit with its notorious sequel Drum which was not only critically reviled, but even upon the eve of its theatrical release, was disowned by the studio. Drum is pure B-movie – no two ways about it, but it’s also, in its own way, marvelous entertainment, crisply directed by Corman protégé Steve Carver and featuring the brilliant Warren Oates taking over the role of Perry King’s Hammond and Ken Norton making a return appearance as yet another character altogether. The film also features the legendary Cheryl Rainbeaux Smith (Lemora) as Hammond’s slattern daughter who favours being serviced by her Daddy’s Mandingo slaves and lying about them to Daddy when they do not submit to her. At one point, Hammond asks her if one of the slaves, Blaze, "be fiddlin'" with her. She replies how Blaze tricked her into playing a game with him wherein he tells her to close her eyes, hold out her hands and await a surprise treat. "And Pappy," she says in utter horror, "when I opens mah eyes, I looks down, and there, Pappy, there in my hands is is his . . . THANG!"

I remember first seeing Drum on a double bill with Mandingo in a Winnipeg Main Street grindhouse called the Epic. When I was a kid, the Epic was called the Colonial and was next door to two other grindhouses, the Regent and the Starland. Here in the stench of cum and urine, sitting on stained, tattered seats, my feet stuck almost permanently to the sticky floors and occasionally having to listen to old men getting fellated by toothless glue-sniffing hookers, I delighted, week after week to Hammer horror films, biker flicks and Corman extravaganzas.

By the 80s, this grindhouse was the sole purveyor of cinematic sleaze in Winnipeg – alternating between standard action exploitation fare and soft-core pornography. Since I had missed Drum on its initial release, I was rather excited to catch up with it on a double bill at the Epic/Colonial. I even recall that the double bill was advertised thusly: “And now . . . the BARE ‘Roots’”. I was accompanied to this screening by two esteemed members of the faculty of English and Film at the University of Manitoba, Professors Stephen Snyder and George Toles (screenwriter of such Guy Maddin films as Archangel, Careful, Keyhole and Saddest Music in the World). It was a glorious afternoon and it was certainly a coin toss to determine what was louder, the sounds of our laughter or the sounds of toothless hookers fellating old men.

Mandingo is a genuinely great picture. In fact, I would argue that it is both a serious dramatic expose of slavery AND an exploitation film. Not that this means the picture is a mess and has no idea what it’s trying to do, but frankly, this notion that there even exists such a thing as “exploitation” films is something I find just a little bit idiotic. Film by its very nature as a visual AND commercial art form IS exploitative – it ultimately has to be in order to be successful. Like melodrama, it’s either good or bad. It works or it doesn’t. And Mandingo works – it communicates a truth as hard and blistering as we’ve seen on this subject. Frankly, not even the legendary television adaptation of Alex Haley's Roots comes close to matching the sheer horror of Mandingo.

Alas, Mandingo has been released on a bare bones DVD and Blu-Ray with a mediocre transfer. Even the cover design is lackluster – Mandingo's original poster, a vivid take on the famous Clark Gable and Vivien Leigh pose from Gone With The Wind (but with a double dose of flame enshrouded miscegenation) was not only great marketing, but a more-than-apt visual encapsulation of the movie. One only hopes the movie eventually gets the home entertainment treatment it deserves – without, of course, too much emphasis on its supposed camp value and more on its quality as fine a motion picture to grace the canon of a truly great American director, the much-maligned and oft-forgotten Richard Fleischer.