Mandingo | |
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Directed by | Richard Fleischer |
Screenplay by | Norman Wexler |
Based on | Mandingo by Kyle Onstott |
Produced by | Dino De Laurentiis |
Starring | |
Cinematography | Richard H. Kline |
Edited by | Frank Bracht |
Music by |
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Production company | |
Distributed by | Paramount Pictures |
Release date |
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Running time | 127 minutes |
Country | United States |
Language | English |
Mandingo is a 1975 American historical melodrama film that focuses on the Atlantic slave trade in the Antebellum South. The film's title refers to the Mandinka people, who are referred to as "Mandingos", and described as being good slaves for fighting matches. Produced by Dino De Laurentiis for Paramount Pictures, the film was directed by Richard Fleischer. The screenplay, by Norman Wexler, was adapted from the 1957 novel Mandingo by Kyle Onstott, and the 1961 play Mandingo by Jack Kirkland (which is derived from the novel).
The film stars Perry King as Hammond, the son of cruel slave owner Warren Maxwell (James Mason). Hammond is known to rape the female slaves on his father's plantation, and his father orders him to marry a white woman to produce grandchildren with no black ancestry. Hammond marries Blanche (Susan George), his cousin, who becomes jealous that he pays more attention to his black lover Ellen (Brenda Sykes) than to his wife, leading Blanche to force the Mandingo fighting slave Mede (Ken Norton) into a sexual relationship with her.
Mandingo received negative reviews upon release. However, retrospectively, the film's reception became much more favorable. It has been variously seen as a big-budget exploitation film made by a major studio, a serious film about American slavery, examining historical horrors committed against African Americans, or as a work of camp. It was a box office hit, [1] and was followed by a sequel, Drum (1976), which starred Norton as a different character and Warren Oates as Hammond.
In the Deep South of the United States prior to the American Civil War, Falconhurst is a run-down plantation owned by widower Warren Maxwell and largely run by his son, Hammond. Hammond and his cousin, Charles, visit a plantation where both men are given black women out of hospitality. Hammond chooses Ellen, who is a virgin. Both she and Hammond watch as Charles abuses and rapes the other woman, with Charles claiming that she likes it. Hammond asks Ellen if this is true, and she says no. Hammond then sleeps with Ellen.
Warren Maxwell pressures him to marry, so Hammond chooses his cousin, Blanche, who is desperate to get out of her house to escape her brother Charles. It is implied that she had an incestuous relationship with Charles. After their wedding night, Hammond is sure that she is not a virgin—a claim Blanche denies. On their way back from their honeymoon, Hammond returns to the plantation where Ellen is kept and purchases her as his sex slave. Eventually, he comes to genuinely care for her.
Meanwhile, Hammond purchases a Mandingo slave named Ganymede. Nicknamed "Mede", the slave works for Hammond as a prize-fighter. He is forced to soak in a large cauldron of very hot salt water to ostensibly toughen his skin. Hammond also breeds Mede with Pearl, even though Pearl is a blood relation of Mede's. Hammond makes a great deal of money betting on Mede's fights.
Rejected by Hammond, Blanche becomes a slovenly alcoholic who does nothing all day long. While Hammond is on a business trip alone, Blanche discovers Ellen is pregnant. Correctly assuming the baby is Hammond's, Blanche beats Ellen. Ellen flees, but falls down some stairs, and miscarries. Hammond (who had promised Ellen that her baby would be freed), returns to Falconhurst and discovers Ellen lost the baby. Threatened with bodily harm by Warren, Ellen does not tell him how she miscarried. Hammond gives Ellen a pair of ruby earrings, which she wears while serving an evening meal. Hammond gave the matching necklace to Blanche, who becomes enraged to find Ellen being publicly favored by Hammond.
Hammond leaves on another business trip, taking Ellen with him. A drunken Blanche demands that Mede come to her bedroom. Although the other slaves attempt to stop him, Mede does as he is ordered. Blanche says she will accuse Mede of rape if he does not have sex with her, so he is forced to spend the night with her, which he does on several occasions.
Hammond returns to the plantation. A great deal of time has passed since Hammond and Blanche's marriage, and Warren Maxwell is eager for a grandchild. Sensing that the marriage is troubled, Warren locks Hammond and Blanche in a room together and refuses to let them out until they reconcile. They appear to do so. A short time later, Blanche announces she is pregnant, but when the baby is born, it is clear the child is mixed race. To avoid a scandal, the child, on doctor's orders, is allowed to bleed to death from its umbilical cord. Sickened at Blanche's sexual indiscretion, Hammond asks the doctor if he has the poison he uses on old slaves and horses. He pours the poison into a toddy for Blanche. An outraged Hammond seeks out Mede, intending to kill him. As Hammond attempts to force Mede into a boiling cauldron of water, Mede tries to tell him that Blanche blackmailed him into having sex with her. Hammond shoots Mede twice with a rifle and the second shot throws Mede into the boiling water. Hammond uses a pitchfork to drown Mede. In a fit of fury, the slave Agamemnon picks up the rifle and aims it at Hammond. When Warren calls him a "crazy nigger" and demands that he put the gun down, the slave shoots and kills Warren. As he runs away, Hammond kneels helpless next to Warren's lifeless body.
The original novel sold over 4.5 million copies. Film rights were eventually bought by Dino de Laurentiis. [2]
Producer Ralphe Serpe said during filming that the movie was:
A human, sociological story that's going to bring about a better understanding between the races ... We're faithful to the story of the book but not the spirit. I mean, the book's hackwork, isn't it? It's almost repulsive. A lot of people have read it, but they read it for the wrong reasons. It's really a story of love. We had the script rewritten three times. ... I hated that ending in the book where the guy boils the slave down and pours the soup over his wife's grave. I mean, we have the slave boiled but we cut out the part where he pours the soup on his grave. He just ... pulls away. And we know that tomorrow there's going to be a lot of trouble. It's really a very beautiful ending. [2]
Charlton Heston turned down the role of the father and the role of his son was rejected by Timothy Bottoms, Jan Michael Vincent, Jeff Bridges and Beau Bridges. Boxer Ken Norton turned down a $250,000 gate to fight Jerry Quarry to make the film. [2]
The critical reception of Mandingo was predominantly negative upon release, with the film being seen as being campy by reviewers in 1975. [3] On review aggregator website Rotten Tomatoes, the film holds a score of 29% based on 21 reviews, with an average rating of 5.6/10. [4] Roger Ebert of the Chicago Sun-Times criticized the film, calling it "racist trash, obscene in its manipulation of human beings and feelings, and excruciating to sit through in an audience made up largely of children, as I did last Saturday afternoon", giving it a "zero star" rating. [5] Richard Schickel of Time magazine found the film boring and cliché-ridden. [6] Leonard Maltin ranked the film as a "BOMB" and dismissed with the word "Stinko!" [7]
In the years following the film's initial release, the reception of the film became more favorable. The Chicago Reader writer Jonathan Rosenbaum wrote in 1985 that Mandingo is "One of the most neglected and underrated Hollywood films of its era [...] it’s doubtful whether many more insightful and penetrating movies about American slavery exist." [3] Movie critic Robin Wood was enthusiastic about the film, calling it "the greatest film about race ever made in Hollywood." [8] The New York Times columnist Dave Kehr called it "a thinly veiled Holocaust film that spares none of its protagonists", further describing it as "Fleischer's last great crime film, in which the role of the faceless killer is played by an entire social system." [9] The film has also been the subject of scholarly praise for its handling of race. [10] [11] [12]
In 1996, director Quentin Tarantino has cited Mandingo and Showgirls as the only two instances "in the last twenty years [that] a major studio made a full-on, gigantic, big-budget exploitation movie". [13] In Tarantino's film Django Unchained (2012), the terminology of "Mandingo fighting" was inspired by the 1975 film. [14]
Drum , the sequel to Mandingo, was released the following year. Released by United Artists, it was once again produced by Dino De Laurentiis. Ken Norton, Brenda Sykes, and Lillian Hayman were the only actors from the first film to return for the sequel. Norton and Sykes played different characters, and Hayman returned in the role of Lucretia Borgia. Warren Oates took over for Perry King in the role of Hammond Maxwell. The story is set 15 years after the events of the first film.
The Mann Act, previously called the White-Slave Traffic Act of 1910, is a United States federal law, passed June 25, 1910. It is named after Congressman James Robert Mann of Illinois.
Uncle Tom's Cabin; or, Life Among the Lowly is an anti-slavery novel by American author Harriet Beecher Stowe. Published in two volumes in 1852, the novel had a profound effect on attitudes toward African Americans and slavery in the U.S., and is said to have "helped lay the groundwork for the [American] Civil War".
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Drum is a 1976 American drama film based on the 1962 Kyle Onstott novel of the same name. It was released by United Artists and is a sequel to the film Mandingo, released in 1975. The film stars Warren Oates, Pam Grier and Ken Norton, and was directed by Steve Carver.
Mandingo is a novel by Kyle Onstott, published in 1957. The book is set in the 1830s in the Antebellum South primarily around Falconhurst, a fictional plantation in Alabama owned by the planter Warren Maxwell. The narrative centers on Maxwell, his son Hammond, and the Mandingo slave Ganymede, or Mede. Mandingo is a tale of cruelty toward the black people of that time and place, detailing the overwhelmingly dehumanizing behavior meted out to the slaves, as well as vicious fights, poisoning, and violent death. The novel was made into a film of the same name in 1975.
James Henry Hammond was an American attorney, politician, and planter. He served as a United States representative from 1835 to 1836, the 60th Governor of South Carolina from 1842 to 1844, and a United States senator from 1857 to 1860. A slave owner, he is considered one of the strongest supporters of slavery in the years before the American Civil War.
Sankofa is a 1993 Ethiopian-produced drama film directed by Haile Gerima centered on the Atlantic slave trade. The storyline features Oyafunmike Ogunlano, Kofi Ghanaba, Mutabaruka, Alexandra Duah, and Afemo Omilami. The word Sankofa derives its meaning from the Ghanaian Akan language which means to "go back, look for, and gain wisdom, power and hope," according to Dr. Anna Julia Cooper. The word Sankofa stresses the importance of one not drifting too far away from one's past in order to progress in the future. In the film, Sankofa is depicted by a bird and the chants and drumming of a Divine Drummer. Gerima's film showed the importance of not having people of African descent drift far away from their African roots. Gerima used the journey of the character Mona to show how the African perception of identity included recognizing one's roots and "returning to one’s source" (Gerima).
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Twelve Years a Slave is an 1853 memoir and slave narrative by Solomon Northup as told to and written by David Wilson. Northup, a black man who was born free in New York state, details himself being tricked to go to Washington, D.C., where he was kidnapped and sold into slavery in the Deep South. He was in bondage for 12 years in Louisiana before he was able to secretly get information to friends and family in New York, who in turn secured his release with the aid of the state. Northup's account provides extensive details on the slave markets in Washington, D.C., and New Orleans, and describes at length cotton and sugar cultivation and slave treatment on major plantations in Louisiana.
Living in a wide range of circumstances and possessing the intersecting identity of both black and female, enslaved women of African descent had nuanced experiences of slavery. Historian Deborah Gray White explains that "the uniqueness of the African-American female's situation is that she stands at the crossroads of two of the most well-developed ideologies in America, that regarding women and that regarding the Negro." Beginning as early on in enslavement as the voyage on the Middle Passage, enslaved women received different treatment due to their gender. In regard to physical labor and hardship, enslaved women received similar treatment to their male counterparts, but they also frequently experienced sexual abuse at the hand of their enslavers who used stereotypes of black women's hypersexuality as justification.
Mary Hemings Bell was born into slavery, most likely in Charles City County, Virginia, as the oldest child of Elizabeth Hemings, a mixed-race slave held by John Wayles. After the death of Wayles in 1773, Elizabeth, Mary, and her family were inherited by Thomas Jefferson, the husband of Martha Wayles Skelton, a daughter of Wayles, and all moved to Monticello.
Elizabeth Hemings was a female slave of mixed-ethnicity in colonial Virginia. With her owner, planter John Wayles, she had six children, including Sally Hemings. These children were three-quarters white, and, following the condition of their mother, they were considered slaves from birth; they were half-siblings to Wayles's daughter, Martha Jefferson. After Wayles died, the Hemings family and some 120 other slaves were inherited, along with 11,000 acres and £4,000 debt, as part of his estate by his daughter Martha and her husband Thomas Jefferson.
Blaxploitation is an ethnic subgenre of the exploitation film that emerged in the United States during the early 1970s, when the combined momentum of the civil rights movement, the black power movement, and the Black Panthers spurred African-American artists to reclaim the power of depiction of their ethnicity, and institutions like UCLA to provide financial assistance for African-American students to study filmmaking. This combined with Hollywood adopting a less restrictive rating system in 1968. The term, a portmanteau of the words "black" and "exploitation", was coined in August 1972 by Junius Griffin, the president of the Beverly Hills–Hollywood NAACP branch. He claimed the genre was "proliferating offenses" to the black community in its perpetuation of stereotypes often involved in crime. After the race films of the 1940s and 1960s, the genre emerged as one of the first in which black characters and communities were protagonists, rather than sidekicks, supportive characters, or victims of brutality. The genre's inception coincides with the rethinking of race relations in the 1970s.
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Kyle Elihu Onstott was an American novelist, known for his best-selling novel Mandingo (1957). It was set in the antebellum South, in the 1830s at a fictional Alabama plantation. The book was adapted as a 1961 play and a 1975 feature film of the same name.
Django Unchained is a 2012 American revisionist Western film written and directed by Quentin Tarantino, starring Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Kerry Washington, and Samuel L. Jackson, with Walton Goggins, Dennis Christopher, James Remar, Michael Parks, and Don Johnson in supporting roles.
The treatment of slaves in the United States often included sexual abuse and rape, the denial of education, and punishments like whippings. Families were often split up by the sale of one or more members, usually never to see or hear of each other again.
12 Years a Slave is a 2013 biographical drama film directed by Steve McQueen from a screenplay by John Ridley, based on the 1853 slave memoir Twelve Years a Slave by Solomon Northup, an African American man who was kidnapped in Washington, D.C. by two conmen in 1841 and sold into slavery. He was put to work on plantations in the state of Louisiana for 12 years before being released. The first scholarly edition of David Wilson's version of Northup's story was co-edited in 1968 by Sue Eakin and Joseph Logsdon.
Jonas Mohammed Bath was a community and religious leader during the nineteenth century in Trinidad. Born in West Africa, he was enslaved and transported to Trinidad in 1804 or 1805. He was able to purchase his freedom, and went on to be leader of the Mandingo population in Trinidad and was described as "chief priest and patriarch" of the entire Muslim population of the colony. Bath petitioned the British government to repatriate the Mandingo community to Africa in 1833 and 1838, but both petitions were rejected.
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: CS1 maint: location missing publisher (link) CS1 maint: others (link)Sommerville, Diane Miller, " 'Now You Are Ready for Mandingo': Sex, Slavery, and Historical Realism," in Writing History with Lightning: Cinematic Representations of Nineteenth-Century America, ed. Matthew C. Hulbert and John C. Inscoe (Baton Rouge: Louisiana State University Press, 2019): 112-124.