Each decade has had great films by and about Black people, but for much of the 20th century, Black stories were rare and it was extremely difficult for Black creatives to enter the film industry. This changed somewhat with the advent of the exploitation film; these tended to be independently made, low-budget, and free from studio censorship, meaning that they could show more sex and violence. This independence also provided a space for Black actors and creatives to tell their own stories, unlike mainstream cinema which often still relegated Black people to supporting roles and offensive stereotypes. In this way, blaxploitation was born.
Blaxploitation films were known for their funk and soul soundtracks, from which many iconic songs and artists originated – Earth, Wind & Fire got their start doing the soundtrack for Sweet Sweetback’s Badasssss Song, and Isaac Hayes won an Oscar for the Shaft theme. Even more than this, they were known for their slick, larger-than-life protagonists. Shaft is unbothered by the threats of his white colleagues, has a cool comeback for every occasion, and wins fights with ease. Nor was this onscreen power reserved for men; Pam Grier played a number of ass-kicking vigilantes who had no problem taking out a room full of drug pushers single-handedly. In addition to their superhero qualities, blaxploitation protagonists are extremely human – they are confident and competent, yet simultaneously given space to grieve and ponder moral dilemmas.
The genre’s independence also allowed its films to explore political issues and have radical messaging without drawing the ire of studio executives. When blaxploitation first came on the scene in 1971 with Melvin van Peebles’ Sweet Sweetback’s Badasssss Song, it was hailed by some as the first Black Power film. It follows a male sex worker who has been wrongfully arrested alongside a member of the Black Panther Party. While on the run, Sweetback encounters issues such as police brutality and drug addiction. He is turned away by members of his community who fear police retaliation, but their betrayal does not save them from the violence of white supremacy. Sweetback is the hero of our film, not because he’s a badass like later blaxploitation protagonists, but because he stands in solidarity with Mu-Mu, the Black Panther, and risks his life to help him escape. Sweet Sweetback’s Badasssss Song is a hopeful call to action, explicitly dedicated “to all the brothers and sisters who had enough of the man”.
Despite the radicalism of early blaxploitation films, the genre has drawn rightful criticism for its stereotypical portrayal of the Black community. Practically every blaxploitation film is about drugs, with most male characters being pushers and most female characters being sex workers. On top of this, the gender politics often leave much to be desired – Coffy’s gravitas is somewhat undercut when her boobs mysteriously fall out during every fight scene. However, this is less an inherent flaw of the genre and more a flaw of its later films. In 1971 and 1972, almost every film was directed and written by Black people, and these films are far more politically coherent and less stereotyping than more dubious examples from 1973 onwards when white creatives realised they could profit from filming low-budget blaxploitation flicks. Cleopatra Jones, for instance, has no interest in criticising the system, instead making its heroine a government agent, hell-bent on bringing down a lesbian drug lord.
While short-lived, blaxploitation made an indelible mark on cinema and culture as a whole. It catapulted Black actors and musicians to stardom, carved a space for Black stories to be told, and brought the message of Black liberation to audiences worldwide. Blaxploitation is more than just a piece of history, though. With its funky music, retro outfits, and ultra-cool protagonists, it’s also a lot of fun, and in a time when we are increasingly looking back to the 60s and 70s, it’s high time we revisit this fascinating genre.
Image “Pam Grier in Foxy Brown” by kronic.it is licensed under CC BY-SA 2.0.
