In the annals of American cinema and history, the Western genre stands as an emblematic representation of the nation’s frontier spirit, rugged individualism, and the conquest of the wild. Yet, Mia Mask’s “Black Rodeo: A History of the African American Western” offers a profound and necessary corrective to the traditional narrative, shedding light on the obscured presence and contributions of African Americans in the Western frontier and its cinematic portrayals.
From the outset, Mask’s meticulous research is evident. The book is anchored in a comprehensive exploration of the African American experience in the West, juxtaposing historical realities with their cinematic representations. The author delves into the erasure of the Black cowboy from both historical records and the silver screen, a poignant reminder of the systemic marginalization faced by African Americans throughout history.
The book’s structure is methodical, with chapters that traverse various cinematic portrayals, from Sidney Poitier’s “Buck and the Preacher” to the lesser-known “Blaxploitation” films of the 1970s. Mask’s analysis is not merely a recounting of film plots but a deep dive into the socio-political contexts that birthed these films. She astutely observes the intersection of Black nationalism, land ownership, and the cinematic myth of the West, providing readers with a layered understanding of the genre.
Specifically, in the inaugural chapter, Mask delves into the intriguing transition of African American athletes from the sports arena to the cinematic world. The 1960s witnessed a unique phenomenon where Black athletes, already celebrated in their respective sports, began to permeate Hollywood. Figures like Woody Strode, Jim Brown, and Fred Williamson, who had already etched their names in the annals of sports history, began to explore the world of film. The chapter underscores the commodification of these athletes, suggesting that their pre-existing fan base made them lucrative assets for film studios. The transition wasn’t merely about capitalizing on their fame; it was also about challenging and redefining the established notions of Black masculinity in cinema. The chapter astutely observes that sports, particularly football, and western movies share thematic parallels, both celebrating male-dominated realms and tales of physical endurance.
Consequently, in the second chapter, Mask embarks on a meticulous exploration of Sidney Poitier’s foray into the Western genre, focusing on two seminal films: “Duel at Diablo” (1966) and “Buck and the Preacher” (1972). The chapter offers a nuanced reading of these films, placing them within the broader context of Poitier’s illustrious career. It becomes evident that Poitier’s venture into the Western genre was not a mere dalliance but a deliberate attempt to redefine and reclaim Black masculinity on screen. In fact, “Duel at Diablo” is dissected as an intervention into the traditional Western narrative. The film, based on Marvin Albert’s best-selling 1957 novel “Apache Rising,” is set in 1880 and showcases Poitier’s character’s adept horsemanship, drawing parallels with the equestrian theatrics of classic Westerns. This portrayal not only challenges the established norms of the genre but also links the African American presence in the West to the mythic mise-en-scène of Western movie heroics. Instead, “Buck and the Preacher,” on the other hand, is highlighted as a film where Poitier sought to enmesh his character with a radical political consciousness, previously unseen in Western cinema. The film’s resonance with Black nationalism, both within its narrative and in its release timing, is underscored, emphasizing its significance in capturing the shifting political zeitgeist of the time.
Chapter 3 delves into the intricate tapestry of Black America, painting a somber picture of urban landscapes as “crime-haunted dying grounds” (p. 170). The narrative underscores the challenges faced by vast sections of the youth, many of whom grapple with the specter of permanent unemployment. The institutions that were once trusted pillars of society, from the courts to the educational establishments, are portrayed as failing in their duties. The chapter poignantly highlights the drug epidemic, which threatens to obliterate the potential of the young Black generation. The overarching theme suggests that the very foundations of American institutions, driven by profit motives and white supremacy, are ill-equipped to address the crises they have inadvertently birthed. This chapter serves as a stark reminder of the socio-economic and cultural challenges that Black America confronts, emphasizing the urgency of addressing these systemic issues.
Instead, Chapter 4 introduces readers to the intricacies of the film “The Legend of Nigger Charley.” The narrative structure of the film is dissected, revealing its alignment with classical Hollywood westerns. These films traditionally depict the hero defending the interests of the common man against various adversarial forces. Charley’s character is portrayed as a defender of the small family farmer’s interests, making the film’s narrative conventional in its essence. The chapter also touches upon Charley’s romantic interest in Sarah, adding layers of chivalry and romance to the storyline.
The fifth chapter shifts its focus to the production of the documentary “Black Rodeo,” with a transcription of a conversation with director Jeff Kanew. The author’s curiosity is evident as he delves into questions about how Kanew and his brother managed to secure the participation of Woody Strode, a renowned figure, as an interview subject. The involvement of the legendary Muhammad Ali in the film is another intriguing aspect that the chapter touches upon.
Moreover, the chapter delves into the nitty-gritty of film production, from the choice of cameras and equipment to the challenges of funding and selecting the right location. The editing process, often a herculean task in filmmaking, is also discussed. The distribution aspect, particularly where the film was showcased in theaters, is explored, providing readers with a comprehensive understanding of the film’s journey from conception to the silver screen.
A significant poignant moment in the chapter is when Kanew expresses his surprise that someone would be so deeply interested in his relatively lesser-known film. This sentiment underscores the often-underestimated impact of cinema, where even lesser-known works can leave an indelible mark on audiences and scholars alike.
The chapter also consider Kanew’s personal motivations. Mask seeks to understand what inspired this young Jewish director to embark on a project that delves deep into Black culture and history. This exploration adds a layer of depth to the book, emphasizing the universality of stories and the power of cinema to bridge cultural divides.
In essence, Chapter 5 serves as a microcosm of the broader themes of the book, emphasizing the importance of representation, the challenges and triumphs of filmmaking, and the power of cinema to tell stories that resonate across boundaries of race, culture, and personal experience.
However, one of the book’s most striking revelations is the link between African American land dispossession and their near-erasure from Western cinema. Mask elucidates the historical disenfranchisement of Black farmers and homeowners, drawing parallels with their cinematic marginalization. This connection between land ownership, economic opportunity, and representation in popular culture is a testament to the book’s depth and the author’s keen analytical prowess.
Furthermore, Mask’s personal anecdotes, such as her experiences with horseback riding and her exploration of the significance of land access, add a layer of intimacy to the narrative. These personal reflections serve as a bridge, connecting the broader historical and cinematic discourse with tangible, lived experiences.
Nevertheless, it’s not just the content that stands out. Mask’s prose is both sophisticated and accessible. Her writing style, coupled with exhaustive research, makes “Black Rodeo” a seminal work in both film studies and African American history.
In conclusion, “Black Rodeo: A History of the African American Western” is a monumental contribution to the understanding of a genre and a history that has long been whitewashed. Mia Mask’s rigorous research, combined with her eloquent prose, offers a compelling read that challenges, educates, and enlightens. This book is not just a critique of the Western genre but a call to recognize and rectify historical oversights, making it an essential read for scholars, cinephiles, and anyone interested in a more inclusive understanding of American history.
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