Review of Bamboozled (2000) by Garry T — 08 Jan 2010

'Bamboozled' lacked a budget, and with that it lacked proper form. Despite this, Spike Lee did his best to tell a story straight up and up-front without holding anything back. Films like 'Malcom X', 'Son of Sam' and 'Do The Right Thing' seemed to have better form and editing where the story was told in a better fashion. Something about 'Bamboozled's perspectives, or even Damon Wayans' poor acting, deterred me from enjoying this film more than I probably should have.

'Bamboozled' somewhat attempts to parallel the infamous 1976 satirical classic 'Network'. While 'Bamboozled' had the same idea in mind (and even the use of a narrator to tell the story and, generally, the same outcome), 'Network' clearly had better performances from its cast and was handled better from a technical standpoint. But, then again, it did have a much larger budget. So, imagine if 'Bamboozled' had had the same backing from a studio which 'Network' had acquired...eventually. This film probably would have been Spike Lee's masterpiece.

Aside from the aforementioned negatives, the best parts of the film were where Lee had broadcast his message best: his use of music and the in-your-face message at the end of the film. The music he uses, whether it be sweet-flowing Jazz tunes or orchestrated ensemble brewing up negativity, seems to always be proper for the setting. Here, it's clear and iconic of his work, especially in the scene with Jada Pinkett Smith and her brother, played by Mos Def. The climactic ending of the film involving the montage of racially insensitive films and animations from the first half of the 20th century give the viewer a clear look as to what IS a shameful act and disappointment, that no act, satirical or not, worthy of ratings because it shakes the brains in our heads or the hearts in our chests, like Blackface can ever be condoned again.