I originally wanted to write this up in reference to the release of Craig Brewer’s My Name is Dolemite next week, without even realizing the highly appropriate irony that the last (only?) great Blaxploitation film was released almost one decade ago to the day.
It’s extremely tempting to refer to Black Dynamite as the sharpest cinema-parody of the ‘00s, at least among those parodies that take a cinematic form, except for the curious and altogether unexpected fact that the best moments in the film only register as “parody” by circumstantial virtue of being contained in a film we’ve been told is a parody in the first place. Case in point: the film’s most famous scene, a free-associative riff-off that begins with M&Ms, sidesteps into Ancient Greek mythology and cosmology, and wanders into phallus-related hijinks, before solving the film’s McGuffin with what amounts to a supreme imaginative leap on the screenwriters’ part. But it’s hard to call this riddle scene a “parody” in any meaningful sense.
Earlier, there’s a more overt reference to the planets: a fairly amazing verbal pimp-off where the elaborate abstractions of pimp culture verbal cosmology suddenly mutate into a quite literal cosmology metaphor that lies well-beyond-reason, the head pimp explaining his plan in terms of the earth’s axis. That joke is “about” Blaxploitation cinema, or at least about the impenetrable ridiculousness of the depiction of pimps in Blaxploitation cinema. And it’s a pretty great joke too. But Black Dynamite discovering the villain’s plot via references to Ares and Athena, for no reason? Is that a satire of cinematic deus ex machinas? Of characters conveniently gifted with screenwriter’s verbosity? Cinema parody, I suppose we could say, if we’re being generous, but certainly not Blaxploitation parody in any meaningful sense. The minds of the filmmakers are clearly well beyond the pale of a mere genre parody. Continue reading