10 essential films from the ‘Blaxploitation’ genre
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Credit: Far Out / American International Pictures / YouTube
Celebrating 50 years of ‘Blacula’ – William Craine’s blaxploitation masterpiece
The late 20th century was a turbulent time for American cinema, with the industry coming out of the back end of the golden age and the studio system becoming a thing of the past. Meanwhile, contemporary politics began to have a significant impact, with the Civil Rights Act of 1964 giving Black communities across America a renewed sense of positivity. This permeated into the film industry as the Blaxploitation genre, portraying violent, powerful, unapologetically angry Black characters, came into existence as a response to decades of systemic racism.
Regularly leaning on Black stereotypes for their benefit, these films often followed Black characters living in urban environments overcoming ‘the Man’, a euphemism used to describe the oppressive white lawmakers. The genre had its opponents who claimed such films did little to promote the image of the modern Black individual. However, it was also recognised for empowering the heroes and subjects of such stories. Using funk and soul music in their soundtracks, these films promoted the quality of the culture of the Black community even further.
Celebrating half a century of existence in cult circles of cinema, Blacula is recognised as one of the most iconic of such Blaxploitation movies, reinterpreting a classic western story into a black tale of satirical fantasy horror.
Helmed by William Crain, who also directed the vampire genre flick Dr. Black, Mr. Hyde, the film set out to contort the original Dracula tale and bring the first black vampire to the big screen. It told the story of the African Prince Mamuwalde (William H. Marshall) in 1780, who approached the Count himself to seek help in suppressing the slave trade, only for the villain to bite and imprison the helpless man.
Donned ‘Blacula’ before his incarceration, Mamuwalde is released onto the modern L.A. streets after a pair of American antique buyers purchase his entombed coffin generations after his life-changing transformation. Releasing him in their L.A. warehouse, the titular character kills both of them before starting on his rampage across the city.
Whilst the film could be perceived as mere low-brow exploitation, Crain and screenwriters Joan Torres and Raymond Koenig are careful in their depiction, with Blacula borrowing from the mythos of the ancient vampire genre to mock them and satirise. It all goes back to the film’s opening, where a white man (regardless of his vampiric powers) relates the Black man with the evil stereotype of savagery that pervaded during the years of slavery in the United States.
Referred to as ‘Dracula’s soul brother’, Mamuwalde accepts the Blacula name he was assigned, using his newfound powers to his own advantage, changing the very definition of how the classic horror character was seen in cinema. In William Crain’s gothic film, a Black man is handed all the empowering mysterious sex appeal of the blood-sucking creature, changing the trend of horror that had been long-held in Hollywood.
Subverting the idea of being a vampire whilst also playing up to, and giving respect to, his own ancient curse, the story of Blacula fits into the sub-genre of vampire movies whilst operating on its entirely own level of satire. Swapping a classical gothic score for contemporary funk and a white lead star for William H. Marshall’s stylish performance, Crain creates a disruptive form of filmmaking that has since become an indelible cult classic.
