Coonskin (1975)

Not only is COONSKIN one of the only animated blaxploitation flicks (can anybody name another?), but it is a damn fine movie as well.

COONSKIN aka STREET FIGHT. Directed by the awesome, and ever talented Ralph Bakshi. This is being a review for a Blaxploitation flick, and I, being as white as white can be (with a hint of Cherokee Indian), found it hard to put my feelings for this film together for a review. None the less, here it goes.

Look, I've never considered myself to be a racist. Hating someone for the color of there skin or their culture seems ridiculous to me. There're so many good reasons to hate people on an individual basis. That being said, if you're offended by racial stereotypes, you may want to stop reading right…here.

From the opening credits, where (the always fucking awesome) Scat Man Crothers strums and scats out the song, "I'm a Nigger Man", you should know what kind of film to expect. Blaxploitation is all about taking black stereotypes, and unabashedly using them for entertainment value (ultimatley empowering the black characters), thus the 'exploitation' aspect of the word blaxploitation. Of course the era of these films (the 70's) is a different place and time than the P.C. world we live in now. I feel, if we can poke fun at stereotypes (that includes all races), maybe we can all laugh together instead of hating each other for stupid reasons. There is a line though--and some may feel COONSKIN crosses it, and some may not. I personally am not offended, but I'm just another honkey—what do I know?

COONSKIN is a sarcastic spoof of the 'locked away' Disney movie, SONG OF THE SOUTH. I have not seen that movie since I was very little, so to what extent it's spoofing it, I can't say. All I know is Disney won't be releasing it anytime soon.

The film starts out live action with two men escaping from prison and waiting for their getaway drivers to show up. The men they're waiting for (soul legend Barry White and Charles Gordone) end up getting pulled over by the cops and the two prisoners are left waiting for the drivers to show up. While they wait, the older of the two men (Scat Man Crothers) tells a story to the other (Philip Michael Thomas of Miami Vice) about Brother Rabbit (Thomas), Preacher Fox (Gordone) and the big Brother Bear (White). From here all the main characters of the story are animated with the background (and some extras) being live action (trademark Bakshi).

When pimping down south doesn't work for Brother Rabbit and his boys, they head north to New York City. In order for them to make a name for themselves in Harlem, they know they'll have to take out some town heavies. First they take out a Black Panther-esque cult leader that's stealing money from the community (classic scene), then the police chief by seducing him with a black stripper then lacing his drink with a hallucinogenic. He ends up in bed with a queer, freaking out and shooting his detective buddies, all while painted with black face. Needless to say, they took care of him.

Next is the Italians (viciously stereotyped as well--everyone is skewered in Bakshi's world!). The Godfather and his homo sons (yup they're tons of homosexual stereotypes as well—no one is safe, even all the white people in the film look like ghouls!) are not going to go easy. By getting rid of the cult leader and the cops, Brother Rabbit makes a name for himself. Unfortunately, the gang disband and go there separate ways. Preacher Fox becomes a pimp and Brother Bear becomes a boxer. Eventually the Godfather plots a plan to kill Brother Rabbit for taking away a lot of his business. Will the gang get back together to take down the mafia once and for all?

The story is actually secondary to the atmosphere of the film and the art of the dialogue. In between the storyline are little bits of urban poetry delivered by animated characters. Like the stripper that talks about her ex and raising a baby on her own, or the homeless man (voiced by Crothers) that seems stuck in the shuckin' and jivin' world of early 20th century America. The film is a work of art, and no doubt has been shunned by modern Hollywood (seeing as though it never had a proper DVD release), and all its P.C. blandness. You can find it broken up into 10 parts on YouTube or possibly score a used VHS copy which I was lucky enough to find.

If you've ever seen a Ralph Bakshi film (FRITZ THE CAT, FIRE AND ICE, WIZARDS) you should know the animation is very original, but it's only a step above Saturday morning cartoon animation of the 70's, it's surely not Disney quality. Though COONSKIN is not about the animation, it's about urban poetry, and life in Harlem circa 1975. It's a time capsule that some will revel in, and some may want to forget. This cracker enjoyed it anyways.

I personally, am drawn to Blaxploitation of the 70's, because to be honest, I'm intrigued by them. Just as other races and cultures intrigue me, 70's black culture is no different. Jack Hill movies are cool. Shaft and Superfly are cool. Brother Rabbit is cool. What can I say? I'm a student in the art of cool, and you can't pass the class without knowing these films.

A tribute to COONSKIN by lukesp13