Bamboozled: Connecting the History of Blackface to Contemporary Images

In his 2000 film, “Bamboozled” Spike Lee connects the history of blackface to many contemporary images to show how ultimately our society is as racist as it was when blackface was used, yet it is manifested in new and different ways. By posing a seemingly preposterous idea (that a show with black people in blackface would actually get aired today), the film allows viewers to have discussions regarding race that aren’t usually had out in the open, but perhaps thought. “Bamboozled” portrays a diverse group of black characters that are in different social situations and therefore have differing opinions on what is to be done for black people to advance, either as individuals or as a people. The film also shows how similar racial power dynamics in the U.S. are today as they were during the time of blackface. Racist iconography from the past depicting black people was used throughout the film as a stark contrast to the present, yet throughout the film these symbols grow and change in meaning. Finally, gender dynamics and sexual relations are used to show how power is distributed and by whom with regard to race.

The persistence of racial power dynamics in the film are contrasted with the history of blackface and the culture it embodied. Whites are still in ultimate positions of power and comprise the vast majority of the entertainment industry (writers, producers, etc.). Pierre, at the beginning seems like a successful black (French) man, yet by revealing throughout the film that he is actually a black American we see how he has gone to great lengths to remove himself from his cultural roots and black racial identity to achieve success in a white man's world. He also changes his writing style and the fact that he presents the ridiculous idea of Mantan is in hopes that he will be fired and "free". His character represents the "sell-out" and is an example of internalized racial oppression. The film also presents the Mau Maus as the stark opposite of Pierre, because they are a black nationalist hip hop group, named for liberationists in Kenya. Unlike Pierre, they are so connected to and almost obsessed with their blackness, that they almost cannot relate to much else, or see how they also contribute to racist and sexist ideas about black culture.

The film also comments on the acceptance of blacks as athletes and musical and dance entertainers; gifts explained as a certain innate talent that comes naturally to them, reflective of images presented by mainstream ideology. This is exemplified when Manrey tap dances on Dunwitty's desk and it looks as if he is Dunwitty's puppet. Even the idea that Spike Lee is depicting Manrey's character as a black man who dances in the streets for money is reflective of the fact that for many, things haven't changed from the days of blackface. Manrey's ignorance about the history of blackface ultimately reflects how black people are still not educated on the history of their people and further poses the idea of ignorance as bliss because Manrey is happier when he starts getting paid, yet before he begins to develop a conscience about what he is contributing to. Dunwitty’s office is covered in huge photographs of black athletes from baseball to basketball, boxing, and football. His “acceptance” of black culture seems to be a desire for and perhaps to be black, yet it is also an example of his inability to see real problems facing black people and how offensive, ethnocentric, and racist his views really are. This shows how today there is more an illusion of racial harmony and acceptance, when really black people are still being exploited by whites for capital gain that supports white supremacy.

Sloan's character shows how gender dynamics play out in regards to race. As viewers we are set up to think of her as hardworking, diligent, and innovative. Yet when it is revealed that she had a sexual relationship with Pierre, her credibility is lost for other characters in the film like Manrey. This shows how even in this generation black women's success is hindered and advances are assumed to be on the basis of sexual encounters. This prior relationship also plays itself out in the interactions between Pierre and Sloan, in that he still uses her for his gain. He calls her things like "little lamb", and keeps her in a position under him even though she comes up with and develops many of his ideas. Dunwitty also acts as an avenue to bring up a discussion on miscegenation because his racism is contrasted with the fact that his wife is black. Rather than having more insight and understanding to black people and their struggles, he thinks that this makes him an expert. By revealing that his wife is black he thinks that he is justified in using the word nigger and commenting on black society as an insider. This further reflects how racial power dynamics may be played out in personal relationships.

In the film black iconography reminiscent of blackface gains new significance throughout the film as the plot moves. For Pierre, he begins to recieve them as gifts and symbols of his success as the show grows in popularity, yet they are also a reminder of how racist ideas are continuing to be consumed and reinforced by America, and more particularly by his show. In the end it is these icons that haunt him and make him go crazy with guilt for what he did. In a similar way, the method they use for blackface in Mantan is the exact same way it was done in the era of blackface. Each time they perform, we see them burning and mixing the coal, then covering their face with it. It is in these moments that we see the very personal feelings toward having to wear blackface. This could be reflective of black actors experiences in the past, or could also be a new way of looking at it because in the past it was mostly white actors who wore blackface to act in black roles. The way blackface is presented and discussed also reflects the way we still live in a society that gives creedence to the one drop rule. Although Manrey is choosen to play Mantan and is black (and considered so culturally in the U.S), he is not "black enough" and blackface must be used. Racism of today is further exemplified in the commercials played during the show which include "Timmi Hillnigger" apparel, and "THE BOMB" soda. The commercials play on modern mainstream ideas of what it means to be black and is clearly reflecting how white advertisers try to market toward the black demographic in the U.S. without regard to the racist representations intrinsic in their nature.

By using a modern context to reveal complexities about how we think about race today, Spike Lee created a film that teaches about the past and comments on how much we haven't learned from it. All of the characters have specific significance in their views of race, social position, and the amount of freedom they have to do what they want as autonomous beings. To a certain extent the black characters are all tied down by fear, desire for acceptance, or opportunity for advancement at any cost. Overall, the film illustrates how racial violence is perpetuated because of immeasurable frustrations about racism and people's ignorance of it's existence.