Part Harold Robbins and part Euripedes, this film has brutal depictions of slavery, abhorrent language, and extraordinary cinematography by Richard Kline.The imagery of Falconhurst, the huge but decrepit plantation of a cruel and vicious man (James Mason in a strange and brilliant performance) is fantastic; with peeling paint and filthy mosquito nets, winding staircases of gleaming wood, dark steamy rooms, and lush exteriors with drooping wisteria.
The score by Maurice Jarre also adds much to the atmosphere, with Muddy Waters singing "Born in This Time".
Perry King is excellent as Mason's son, broken in body, weak in spirit, knowing what is right and often doing what is wrong; as his wife, Susan George is appropriately annoying and trashy, and as his "wench", Brenda Sykes is lovely. Heavyweight boxer Ken Norton, who won over Mohammed Ali (and broke his jaw) in 1973, made his impressive screen debut as Mede the Mandingo.
This film is a mass of contradictions, which is probably what keeps one glued to the screen. It is manipulative yet unpredictable, gratuitous and raw but thought-provoking; some of it might be absurd, but many of the situations shown did happen.
With all the brutality, nudity, incest, and most of all, the repellent language, this is not a film for the young, or anyone squeamish about violence.
Total running time is 127 minutes.
I have to say I was truly shocked at how many viewers responded with derisive amusement, laughter, and even a weird kind of delight to this frankly brutal, harsh, and, yes, often lurid look at the brutal, harsh, and often lurid reality that was the evil institution known as "slavery" -a system which dehumanized and degraded everything it touched, and which nearly destroyed a nation. (Much as the Nazis' "Final Solution" would do a century later, only with more systematic efficiency, and with global repercussions.)
And this is to be regarded as a fitting subject for MIRTH? Well, perhaps if you lack a modicum of compassion, or even a rudimentary frame of reference with regard to black history. Admit it -if this film had been about the Holocaust and had depicted the torture and gassing of Jews instead of the beating and lynching of slaves you would NOT have laughed, would you? At least I HOPE you wouldn't!
Face it, this is a particular chapter of history that is simply too close to home and too uncomfortable for many white Americans (which I, also, with some degree of shame, admit to being) to fully acknowledge, much less stomach. Damn right this film is inflammatory, politically incorrect, offensive and salacious. It HAD to be if was to pretend to any level of accuracy with regard to even a semi-objective portrayal of slavery. And my particular star-rating has more to do with the films' refreshingly crude and repugnant portrayal of slavery rather than as an assessment of the film as a particular work of cinematic art.
Yes, I found a number of things to quibble with in 'Mandingo', both in terms of certain stylistic and technical details, as well as some of the writing and acting, though there is much to be admired there as well. But those aspects are really beside my point.
Basically, 'Mandingo' is what it is, admire it or loathe it. 'Song Of The South' or 'Gone With The Wind' it definitely ain't. But you can seek out those films too, if you're craving a cozier cinematic version of the pre and Civil-War-Era South to soothe your sensitive consciences.
Or, perhaps, in addition to 'Mandingo', you might consider seeing 'The Autobiography Of Miss Jane Pittman', 'Roots', 'Amistad', 'Beloved' or 'Manderlay'. That is IF you're willing to wake up and smell that good ol' plantation-grown coffee!
Read Best Reviews of Mandingo Here
Part Harold Robbins and part Euripedes, this film has brutal depictions of slavery, abhorrent language, and extraordinary cinematography by Richard Kline. The imagery of Falconhurst, the huge but decrepit plantation of a cruel and vicious man (James Mason in a strange and brilliant performance) is fantastic; with peeling paint and filthy mosquito nets, winding staircases of gleaming wood, dark steamy rooms, and lush exteriors with drooping wisteria. The score by Maurice Jarre also adds much to the atmosphere, with Muddy Waters singing "Born in This Time".Perry King is excellent as Mason's son, broken in body, weak in spirit, knowing what is right and often doing what is wrong; as his wife, Susan George is appropriately annoying and trashy, and as his "wench", Brenda Sykes is lovely. Heavyweight boxer Ken Norton, who won over Mohammed Ali (and broke his jaw) in 1973, made his impressive screen debut as Mede the Mandingo.
This film is a mass of contradictions, which is probably what keeps one glued to the screen, and makes it memorable years after seeing it. It is manipulative yet unpredictable, gratuitous and raw but thought-provoking; some of it might be absurd, but many of the situations shown did happen.
With all the brutality, nudity, incest, and most of all, the repellent language, this is not a film for the young, or anyone squeamish about violence.I saw this picture several times in the theater when it was first released and the cinematography, printed in Technicolor, was stunning. I particularly remember the first dining scene with the room having a strong amber glow from the late afternoon sun streaming in through the half-drawn window shades. The colors were consistently bright and brilliant throughout the entire picture. This latest DVD release is good, but it is not nearly as good as it could have been. It is apparent that Paramount did not care enough about this release to restore the color. It seems the studio simply used the original film elements, which have faded a little with age, as is. This is especially sad since Paramount released "Houdini" at the same time in beautifully restored Technicolor with stunning results. Shame on you, Paramount. "Mandingo" deserves your best efforts, too.
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