This article possibly contains original research .(February 2018) |
The Legend of Nigger Charley | |
---|---|
Directed by | Martin Goldman |
Screenplay by |
|
Story by | James Bellah [1] |
Produced by | Larry G. Spangler [1] |
Starring | |
Cinematography | Peter Eco [2] |
Edited by | Howard Kuperman [2] |
Music by | John Bennings [2] |
Production company | Spangler & Sons Pictures [2] |
Distributed by | Paramount Pictures |
Release date |
|
Running time | 98 minutes [2] |
Country | United States [2] |
Language | English |
The Legend of Nigger Charley (released as The Legend of Black Charley for television broadcast [3] ) is a 1972 blaxploitation Western film directed by Martin Goldman and starring Fred Williamson in the title role. The story of a trio of escaped slaves, it was released during the heyday of blaxploitation. Shot in Charles City, Virginia, Eve's Ranch, Santa Fe, New Mexico, Jamaica, and Arizona, it received backlash for its controversial title. [4]
The film is rated PG in the United States. It was followed by a 1973 sequel, The Soul of Nigger Charley .
The opening scene includes Charley as a baby with his mother Theo in Africa. The two are forced into slavery. Twenty years later, Charley kills an abusive plantation owner and flees with his two friends, Joshua and Toby. As they run away from the slave catchers, the trio experience racism, standoffs and romance, specifically in a small town. After Joshua is killed in a standoff against the town's outlaw, the film ends with Charley and Toby leaving the town to continue traveling with no destination.
This film was the debut movie for commercial director Martin Goldman. However, after many disagreements with the producer, Goldman distanced himself from the production. Larry Spangler, the producer, envisioned the film. To assure a degree of accuracy, he spent months researching that period during the 1800s. At first, Woody Strode was cast in the lead role but Strode changed his mind and dropped out. When Spangler continued the process of casting, he saw several top actors. However, he chose Williamson for "his right stature, the feel, the stamina, fervor, and virility of Nigger Charley ..." Fred Williamson at that point had never shot a gun or been on horse. He spent a total of one week working on both skills. Spangler wanted an authenticity to the setting. Thus, they filmed at an actual plantation, Shirley Plantation, in Virginia. Shirley Plantation was actually owned by the Carter family. This plantation is known for being the birth spot of General Robert E. Lee,[ citation needed ] the leader of the Confederate forces in the Civil War. [5]
When the film first advertised, the film promised black men fighting Indians. The advertisement and plot line caused a backlash from Native Americans, who protested their depiction. Specifically, there is a scene in the film where Charley, Toby and Joshua run into a group of Indians. They approach the trio and begin to touch their skin trying to see whether the black color would rub off. This was extremely offensive to the Native American community and many chose to send letters. This is why the production was moved from Colombia to New Mexico.
However, most of the controversy was centered on the title of the film. Some found the name so offensive that the newspapers actually edited the name in the advertisements to The Legend of Black Charley, or just Black Charley. Williamson said, "I called it Nigger Charley because it was controversy. The word nigger in the '70s was hot. Controversy is what sells." [6] He later explained that he believed the movie was helping to take back the meaning from the historical defamation. The movie helps reinforce the expected interaction between black and white people regarding the racial slur. White characters were chastised and punished for using the word while black people were free to use it flippantly. Throughout the film, they say it as a badge of honor, "signifying their willingness to defy the paralyzing constrictions of white society." This paradigm is a reflection of what was occurring at the time regarding who was "allowed" to say the "N word."
In response to the controversy, Don Pedro Colley stated that racism is just a part of life and trying to cover up that point of history would be pointless. He also mentioned that he viewed the film as the black Indiana Jones and felt that the media was sensationalizing the film to be more controversial than the movie truly is. [7]
The film received negative reviews. [1] According to the reviewer in the New York Times, "For all the feverish activity, there has yet to be a film of rounded merit—one of skill, imagination and impact—about the black man and the Old West. Sadly, The Legend of Nigger Charley is fair. Fair only." [8] From contemporary reviews, David McGillivray of the Monthly Film Bulletin reviewed a 95-minute version of the film. [2] McGillivray stated that the film was "a routine amalgam of all the current 'black film' cliches" specifically noting the "blithely anarchronistic score sounds like a nightclub jam session, though it is also all of a piece with the film's grand disregard for authenticity." [2] McGillivray declared that "the scriptwriters seem hard put to find anything for their ox-like hero to do, and appear content to fill in the space between battles with monotonous and generally irrelevant dialogue exchanges between subsidiary characters." [2]
The Philadelphia Tribune stated, "The Legend of Nigger Charley which opened at the Goldman Theater Wednesday, may not be the worst picture I've seen, but offhand I can't think of any that can top it." The review goes on to explain how some of the atrocity of the film can be due to the genre it belongs to: Blaxploitation. This review said that this film and other Blaxploitation films insulted Black moviegoers' intelligence. The opening scene, described as "nonsensical," is thought to be an empty shot at showing nudity rather than an accurate and insightful depiction of Africa. Furthermore, this reviewer didn't look kindly on the representation of the kind white plantation owner who freed Charley. The language in this review was patronizing and condescending to the image, "Then we jump to the story about Nigger Charley, a pre-Civil War slave who is freed by dear old massa on his deathbed thanks to the pleading of his kindly old momma." Once again, the reviewer criticizes the exchange between another Charley and Leda as the inclusion of a pointless sex scene void of any plot significance. He considers the occasions of blood and gore for the sake of Black audience praise a cheap and insulting tactic. The humor was poor and the dialogue inane. Overall, Len Lear considered this film to be a terrible exploitation film. [9]
George McKinnon of the Boston Globe also had unkind words for the film, calling it "a racist Western." Although there are black characters in the film, the film remains cliché, he states. However, this reviewer affirmed the movie's values by stating that the meaning would be different if viewed as a black child. The movie offers a different hero to look up to for, at the time, there were only white cowboys to emulate during children's make-believe play. The film flips traditional tropes on their heads, as all of the black men are good and courageous in contrast to the white people of the film who are mostly detestable. As far as the acting goes, this reviewer stated that the actors either overacted or "walk woodenly through their roles." [10]
Brotherhood of Death is a low-budget 1976 action film in the blaxploitation genre, directed by Richard F. Barker and Bill Berry, and starring Roy Jefferson, Le Tari, and Haskell Anderson. The film featured appearances by several members, including Jefferson, of the Washington Redskins professional football team of the National Football League.
Frederick Robert Williamson, also known as "the Hammer", is an American actor and former professional football defensive back who played mainly in the American Football League (AFL) during the 1960s. Williamson has had a busy film career, starring as Tommy Gibbs in the 1973 crime drama film Black Caesar and its sequel Hell Up in Harlem. Williamson also had roles in other 1970s blaxploitation films such as Hammer (1972), That Man Bolt (1973) and Three the Hard Way (1974).
Black Caesar is a 1973 American blaxploitation crime drama film written and directed by Larry Cohen and starring Fred Williamson, Gloria Hendry and Julius Harris. It features a musical score by James Brown, his first experience with writing music for film. A sequel titled Hell Up in Harlem was released in late 1973.
D'Urville Martin was an American actor in both film and television. He appeared in numerous 1970s movies in the blaxploitation genre. He also appeared in two unaired pilots of what would become All in the Family as Lionel Jefferson. Born in New York City, Martin began his career in the mid-1960s and soon appeared in prominent films such as Black Like Me, Guess Who's Coming to Dinner, and Rosemary's Baby. Martin also directed films in his career, including Dolemite, starring Rudy Ray Moore.
Boss Nigger is a 1975 blaxploitation Western film directed by Jack Arnold, starring former football player Fred Williamson, who also wrote and co-produced the film. It is the first film for which Williamson was credited as screenwriter or producer.
Black Shampoo is an American exploitation film directed by Greydon Clark. Released in 1976, the comedy film is considered an example of the blaxploitation and sexploitation subgenres of exploitation film. Produced on a budget of $50,000, the film stars John Daniels as Jonathan Knight, an African American businessman and hairdresser who frequently has sex with his predominantly white female clients, and Tanya Boyd as Brenda, Jonathan's secretary and girlfriend, who was previously in a relationship with a white mob boss, who, out of jealousy towards his ex's new lover, begins to regularly send goons to trash Jonathan's hair salon. The violence escalates as the film progresses.
Hammer is a 1972 blaxploitation film directed by Bruce D. Clark. The film was released following the successes of Sweet Sweetback's Baadasssss Song and Shaft, notable 1971 films that popularized black cinema. It starred Fred Williamson as B.J. Hammer. Williamson went on to become a staple of the genre.
The Soul of Nigger Charley is a 1973 American blaxploitation Western film directed by Larry Spangler and starring Fred Williamson. It is the sequel to 1972's The Legend of Nigger Charley. It is followed by Boss Nigger. It is rated R in the United States.
Don Pedro Colley was an American actor. Some of his better known roles include Gideon on Daniel Boone, Ongaro in Beneath the Planet of the Apes, SRT in George Lucas' THX 1138, Joshua in The Legend of Nigger Charley, and Sheriff Ed Little in the 1980s TV series The Dukes of Hazzard.
Robert Lee Minor is an American stunt performer, television and film actor, best known for doubling many African-American celebrities such as: Jim Brown, Fred Williamson, Bernie Mac, Danny Glover, Carl Weathers, Roger E. Mosley and John Amos. Minor was born in Birmingham, Alabama, and made his first television appearance in 1973 on the television program, Search, then appeared in tons of shows such as: McCloud, Barnaby Jones, The Six Million Dollar Man, Wonder Woman, Eight Is Enough, Magnum, P.I. and Starsky & Hutch among other popular television programs.
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.
Black Eye is a 1974 American neo-noir action and blaxploitation film produced by Pat Rooney, directed by Jack Arnold and starring Fred Williamson. The film was based on the 1971 novel Murder on the Wild Side by Jeff Jacks.
Joshua is a 1976 American Western film directed by Larry G. Spangler.
That Man Bolt is a 1973 American action film directed by David Lowell Rich and Henry Levin. It stars Fred Williamson in the title role of a courier and Byron Webster. The film combined several genres: blaxploitation, the martial arts film, and James Bond superspy films. It was filmed in Hong Kong, Macau and the United States and featured several martial arts experts in action: Mike Stone, World Professional Light Heavyweight Karate Champion, Kenji Kazama Japan Kickboxing Champion, Emil Farkas, European Black Belt Karate Champion, and David Chow, Former California State Judo Champion. It was titled Operation Hong Kong outside the United States. Peter Crowcroft wrote the novelization of the screenplay.
Blaxploitation horror films are a genre of horror films involving mostly black actors. In 1972, William Crain directed what is considered to be the first blaxploitation horror film, Blacula.
No Way Back is a 1976 blaxploitation film written and directed by Fred Williamson, who also stars as Jesse Crowder, a private detective who once used to belong to a police force, but that now finds himself taking odd jobs for a little extra money.
Bucktown, USA is a 1975 American crime action blaxploitation film released by American International Pictures starring Fred Williamson.
Leon Isaac Kennedy is a retired American actor, disc jockey, film producer and playwright. Kennedy's acting roles include Martel "Too Sweet" Gordone in Jamaa Fanaka's Penitentiary (1979), Penitentiary II (1982), Lone Wolf McQuade (1983) and Penitentiary III (1987), and Leon "The Lover" Johnson in the 1981 film Body and Soul alongside his then-wife Jayne Kennedy.
William Wellman Jr. is an American former actor. In a career spanning 65 years, he appeared in about 77 films and television series.
{{cite web}}
: Missing or empty |url=
(help)