Red Tails is a movie just released honoring the Tuskegee airmen, an often unrecognized unit of black fighter pilots in WWII. For those who don’t know the backstory, George Lucas (sort of?) wrote and produced it, and has been working for over two decades to try and make this film happen, because studios just weren’t interested (he ended up paying for it himself, and it wasn’t cheap). Why? Because, he was told, a film with an “all black cast” was assumed to be a loser at the box office, especially in the foreign market, and thus not worth the investment a major film like this requires.
Sikivu Hutchinson, writing for Black Skeptics here at FtB, gets you up to speed on this fiasco in Jim Crow Hollywood 101. Although one of the deciding factors causing studios to reject the film was apparently their belief that an all-black action film would flop in the foreign market, so it’s not just the fading ghost of Jim Crow America, but also the rest of the “We Used to Love the Atlantic Slave Trade” Western World and “Why Is Their Skin a Weird Color, What Are They Aliens?” Eastern World (oh, and I suppose we ought to add the “We Can’t Afford to Buy Your Stupid Movies Because of Your Agrosubsidies, Dumb Asses!” African market and the “We Have Our Own Action Movies With People of Color in Them, Thank You” Indian market, and so on, but I’m not a studio exec so I don’t know what supposed data they were looking at).
Other WWII Films to Compare
As for myself, I thought the movie might be awesome just because it was a WWII action flick; the fact that it was about the Tuskegee airmen was just a cool bonus. I was a little unsure, though, because ever since the 80s WWII movies either suck (Pearl Harbor, anyone?) or are beyond excellent but, as one might say, kind of dark. Das Boot, Schindler’s List, Valkyrie, Saving Private Ryan, Inglorious Basterds, Miracle at St. Anna, are all superb films, some are brilliant on almost every measure. But they aren’t exactly ra-ra, “heroes rock!” action flicks. Yes, Basterds had a bit of that (and some would say a bit too much of it, and that on the “um, that didn’t happen” side, but let’s be honest, we all love a good revenge fantasy now and then), but overall even that film was, let’s be honest, dark. So can we have more feel good WWII films? Sure, people die even in those. Sad things happen. It’s war. But the overall feel is not “excuse me while I go shoot myself,” but more in the “yay!” category.
Once upon a time we had those movies, albeit often wildly fictional: Kelly’s Heroes, The Dirty Dozen, Force 10 from Navaronne (all had a token black guy…who duly got killed; except in Force 10, where he’s only mortally wounded, demonstrating real progress in racial relations; until you notice he wasn’t depicted on any of the promo film posters, despite being Carl Weathers, hardly a nobody…). And of course there have been plenty of WWII-set pieces…that had nothing much to do with war per se. Like Victory, two of the Indianna Jones films (Raiders and Last Crusade), The Keep … (notice we are descending into even wilder fiction here). But they also used to write really heroic, sometimes even delightfully comic, WWII movies that, I have to say, would never get written today for some reason. I’m thinking of flicks like Heaven Knows, Mr. Allison, Father Goose, and Operation Petticoat.
Red Tails: Bad News First
I name all of these so you’ll know what my point of reference is as far as what counts as a really good WWII flick (don’t make too much hay out of any omissions; there are tons of classics I haven’t seen). Red Tails doesn’t make this cut. And that’s mostly because George Lucas wrote it (the credits say two other guys did, but on The Daily Show he described himself writing it, and IMO either he did, or clones of him did, because it’s very Lucasy). George Lucas is kind of a shit writer, IMO, and the worst when he tries to write “for kids.” He talks down to kids. He apparently thinks kids are stupid. When I was watching Red Tails there were several scenes were I was pulled out of the film because of some stupid dialogue he’d put in (or allowed in, if he was just supervising the script; indeed the very first lines of the film will worry you as far as their dumbness…all I can say is, it gets better…mostly). Later I realized why that stupid, unrealistic dialogue was in there: he wants parents to take their kids to go see this movie, and he thinks kids are too stupid to follow realistic dialogue (as my wife said to me afterward, the opposite is the case: she learned how to speak and understand better by watching as a kid movies that were written for adults; but this is a guy who thinks kids loved Jar Jar Binks).
Still, there were really only three or four scenes that were that bad. The rest was at least decent, especially when the black performers were on screen (the cast is not devoid of white people, it just doesn’t have any in lead roles). But here I think the rest of what was wrong with this movie is that the director (Anthony Hemingway) kind of phoned it in whenever he was shooting white cast members. In almost every scene with a white person in it, their performance sucked. It looked like he always printed the first take, when a real director would stop and tell them, “Okay, you’re delivering your lines fine; now perform the lines. Okay, take two…” In contrast, the black actors performed solidly throughout, even R&B singer Ne-Yo, who was great, producing one of my favorite characters and adding something different to the film I’m sure would have been lost if they’d gone with someone else.
(I should also add my usual peeve about all contemporary cinema, that I’m sick of the over-use of CGI in movies today; it’s lazy and unconvincing and destroys most of the awe movies once could produce. I liked it back when we actually made movies, and not cartoons that we try to pass off as movies. But this is a minor point. I know it’s unrealistic to expect some real movie magic and actual aerial stunt work, especially when he wasn’t even getting funded properly, but I really do want to see real movies again some day. So, complaint registered. Moving on…)
Red Tails: Now the Good News
It’s a decent work of historical fiction that’s fun to watch in the classic sense. You will learn a lot about what went on and what they accomplished and how they were perceived at the start of the war and how that changed by the end of it, which is all in broad outline accurate. There’s humor and heroism. And it’s miles better than any crap film like Pearl Harbor. Note that I can’t compare Red Tails here with the 1995 HBO movie The Tuskegee Airmen starring Laurence Fishburne, which covered the same unit, not only because I haven’t seen it (although now I am inspired to), but because it was not a studio released film; indeed, the fact that it was not is an example of what’s wrong with Hollywood (and accordingly, as I don’t have premium channels like HBO, I had never heard of it until researching this post today).
So what about Red Tails? Should you see this movie, and encourage others to as well? Your call. But let me play advocate: (a) it’s at least an okay movie (7 out of 10, and from me that’s saying something since most films these days don’t even rate a 5 for me); and (b) it will teach you shit about history you might not have known but would love to learn. And I don’t just mean the issues (or for some uninformed people, even mere existence) of black combat pilots in WWII, but, especially cool for a historian of technology like me, the fact that the Nazis invented jet aircraft and fielded a fleet of jet fighters during the war, and we had to fight them with ordinary prop planes (maybe someday I’ll blog about one of my old pastimes, weapons tech, and the fact that pretty much everything we fight with now was invented by the Nazis, including the automatic assault rifle, shoulder-launched rocket, and guided missile…and yes, jet fighters), and (c) it will flip the bird at the white-ass studio execs who wouldn’t pay for or to distribute this film because “no white people are in it.” They think white people won’t go see it because they aren’t in it (and it’s always supposed to be about us, see).
It would be worth it to prove them wrong. I’d certainly hate to find them feeling “vindicated” by the movie’s failure. Because studio execs are neurophysically incapable of registering a film’s quality at all, they won’t realize it failed (if it even does) because of the writing or directing, so they will think it’s because no white actors were in the lead parts. It’s this stupid false inference that has driven practically the whole industry since 1980. That’s why when one studio comes out with a hybrid talking vampire shark movie, every studio comes out with a hybrid talking vampire shark movie, because “obviously” that’s “in” now (rather than judging what to do based on whether a script is actually just good).
If, however, you rankle at paying to see merely average movies just to learn stuff and support a cause, but you want to see what was actually the first all-black-lead WWII action movie, then rent Miracle at St. Anna (directed by Spike Lee). That got panned by the critics (mostly because Spike Lee didn’t direct it like a “Spike Lee” film, as critics had pigeonholed him, but actually demonstrated his skill and versatility as a director and made something quite different), and fans of “constant action” war movies hated it because it had a lot of boring “talking” and “emotion” and shit, and other people hated it because it was a little confusing and requires you to actually follow everything and be intelligent. But it actually rates as one of my top most favorite WWII films (in the “dark” category, that is), rivaling even Saving Private Ryan.
Why? Well, you might get it if after watching it, you have the balls to then watch it again, now knowing what happens and thus what all sorts of things really meant earlier in the film (the imaginary-friend scene with the boy in the barn will make you cry…once you know what was really going on in that scene). And if you have an eye for the decisions a director makes (editing, getting performances from the actors, where to put the camera) and just overall matters of quality (not much CGI here). It will also teach you about history (a central atrocity that occurs in the story is actually a true story). And it has literally the most intriguing opening scene of any war movie ever made (yes, even beating Saving Private Ryan). I know one critic who said it sometimes played too much into black stereotypes, but in fact it demonstrates how blacks themselves in the 1940s could play with those stereotypes, while some of them were based on cultural realities of the time, and in fact you actually get as much diversity of character among the men as you would in any “all white” WWII film (so if you don’t notice that, then you are the one obsessing on stereotyping…and I wonder if that was kind of Lee’s point).
Anyway, that’s an excellent film, and thoroughly anti-Lucasy (which does mean, not for kids). But what I want now are good, action-fun WWII films. Like Inglorious Basterds with an all-black infantry unit; or Operation Petticoat style antics in an all-black motorpool unit near the front lines (“When the air raid started he just took off. All he said was ‘In confusion, there is profit!’” … if you didn’t just laugh, you either have no sense of humor, or you haven’t seen Operation Petticoat recently; one of those is easy to remedy). Why not? The potential would be awesome. If you want to see that happen, though, you may have to start small and go see Red Tails. Then studios will start listening to pitches for similar films, and inevitably something awesome will get made that never would have otherwise.
In other words, maybe we should make Red Tails the next hybrid talking vampire shark movie.