Bamboozled

New Line Cinema | Release Date: October 6, 2000

6.6	USER SCORE Generally favorable reviews based on 28 Ratings

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JohnTFeb 3, 2007

In his other films, Lee makes fun of white people who belittle the contribution of blacks to American culture. In Bamboozled, he makes fun of white people who are obsessed with and revere the contribution of blacks. You can't win: In his other films, Lee makes fun of white people who belittle the contribution of blacks to American culture. In Bamboozled, he makes fun of white people who are obsessed with and revere the contribution of blacks. You can't win: It's almost as if Lee is saying there's no way a white person could ever admire a black celebrity for the right reasons. When the network brings in a Jewish consultant named Myrna Goldfarb (Dina Pearlman) to advise on a public-relations strategy, her mere presence is treated as an affront. In an attempt to defend her perspective, she mentions having lived with a black man and adds that her parents had marched with Martin Luther King Jr. at Selma, Ala. But Sloan and De-La don't buy her empathy, and neither does the movie. I'd like to say that any Jews who'd appear in a Spike Lee "joint" are traitors to their people, but I'm afraid I'd sound too much like Lee. Does he want that to be his legacy? He makes it so much easier to resign ourselves to our racism.… Expand

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ArmChairCritic5Apr 11, 2011

In this depiction of race and race relations, the white man is still in power and is only interested in exploiting black people and assuming black culture. The white TV writers and bosses are stupid, insensitive, and racists who love racistIn this depiction of race and race relations, the white man is still in power and is only interested in exploiting black people and assuming black culture. The white TV writers and bosses are stupid, insensitive, and racists who love racist material. This is, of course, a racist presentation of white people. On the other side, you've got essentially two kinds of black people. Authentic blacks who are part of the resistance, and the sellouts. You can tell which ones are the sellouts because they wear/perform blackface and get shot to death by the authentic resistors. The whole thing is unbelievably blunt, simplistic, and thoughtless exploration of race, power, and the history of racism in America. I suspect many will presume there is some kind of enlightened message buried deep within the satire that emerges with enough searching and pressure, but there's really no excuse for the kind of 2-D typecast representations of whiteness and what Lee sees as modern day uncle toms who play along. It's a crap way of telling stories, and it's a crap way of looking at life too for that matter. Looking at people and seeing only objects is, after all, kind of what started this whole race mess in the beginning.… Expand

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