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Watch Video Here: http://www.amazon.com/review/R13CS6IG6RA47F I saw this during its world premiere at the Sundance Film Festival – and was lucky enough to race into the director, Scott Sanders and the incredibly talented composer and editor Adrian Younge in line at another screening. This video combines moments from the trailer with bits from my conversation with the filmmakers – all captured on a handy Flip Mino Camcorder.
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Back in the day, films like Shaft, Foxy Brown and Sweet Sweetback’s Baadasssss Song styled funkalicious jazzy soundtracks, tough dark heroes and heroines and bad white cops and politicians. A current genre was born, both celebrating and exploiting dark culture, targeting urban African-American audiences with its style and subject matter. Some of the best of these films have become cult favorites, and have influenced fresh filmmakers such as Quentin Tarantino, whose Jackie Brown paid explicit homage to the genre he’d grown up on and loved. Shaft was recently remade in slick Hollywood style by John Singleton; but for the novel vulgar budget style and campy flair you had to go to the bargain bin dvd versions, until now.
Created by Scott Sanders and Michael Jai White, Unlit Dynamite tells the narrative of a friendly brother, who’s got kung fu skills and knows unbiased how to please the ladies. What he can’t do is what he promised his mother on her death bed: protect his brother from the drug lords that are destroying the inner city. Upon hearing that his brother was killed, he swears revenge and sets out on a quest to study those responsible. It turns out this was no simple hit – his brother’s assassination was piece of a ample conspiracy to disempower blacks by hitting them where it hurts the worst, and the conspiracy goes all the draw to the top: President Richard Nixon himself, who, it turns out, has some sweet kung fu moves all his bear.
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The film is hilarious, taking all of the absurd, campy, raunchy and chilly elements of customary 70’s blaxploitation films like Superfly and Dolemite, and tying them together into an absurdly humorous anecdote revenge and save-the-world flick.
Part of the appeal is that the film mimics the on-the-fly imperfection of the dilapidated B-movie style Blaxploitation. Allege mikes occasionally appear in the shot, distracting the actor; determined continuity problems (a woman whose bolt of sadness appears and then disappears and reappears as the camera cuts help and forth between her and the huge BD; an actor is suddenly replaced by a stand-in mid-scuffle, after he is obviously injured by a punch) add to the overall lightheartedness of the endeavor.
What impressed me, though, was that the film was not mocking blaxploitation, but rather paying homage. The filmmakers clearly know and appreciate these films. Best of all, though, is Michael Jai White’s absolute immersion in character as a tough-as-nails crusader whose soft heart and unnerved demeanor only occasionally surfaces. I haven’t laughed out loud this noteworthy during a film in a very long time. Highly recommended, but not for the apprehensive.
“Dim Dynamite,” starring actor, martial artist, and old-fashioned stuntman Michael Jai White, is a riproaring but affectionate sendup of “blaxploitation” films, action films with shadowy stars that started with “Shaft” in 1971 starring Richard Roundtree, and grew to be the greatest burst of unlit participation in Hollywood history. Sad actors, writers, and directors worked as never before, and created films that drew massive shaded audiences. These films created heroes out of private eyes, pimps, Vietnam veterans, drug dealers, hustlers, and sunless revolutionaries. These films were cheaply made, and were often derided by film critics and scholars, but dark audiences saw a Hollywood fantasy glide save on character types they knew, frustration they had being voiced, and perhaps most importantly, unlit people fighting and beating the system.
The residence involves White as Unlit Dynamite, a neighborhood enforcer whose brother gets killed by a unsavory alliance between drug dealers and the mob. Sunless Dynamite begins a rampage of vengeance, beating up the terrible guys, and loving and charming women as he goes. The movie uses both large and subtle humor to point out the silliness inherent in these films, but it is all done with care for and affection.
Black Dynamite is a very amusing film that harkens attend to another location and time – when there wasn’t substantial blockbusters starring Will Smith and Jamie Foxx, and when the best entertainment in town was a film showing shaded people “sticking it to the man.”
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