The central character of this film is a ‘Black’ woman whose history as a human being has obviously involved ‘mixing’ of various forms experienced by her ancestors. To what extent this has happened is a matter of debate and is certainly not discussed in the film, but the reality of her two original (biological) children being African looking suggests that the central character possesses genuinely ‘African’ genes and that the father of her children was also ‘Black’, etc. Indeed, her ‘Black’ children are a shocking contrast to the ‘White’ (middle-class) society she has infiltrated – particularly when compared to her ‘new’ children produced with her ‘White’ husband! Through their uncompromising attitudes and violent behaviour – her original ‘Black’ offspring are presented as positively ‘demonic’ – and it cannot be doubted that the writer of the film must have intended this to be the case! Again, playing upon ‘White’ sensitivities and ‘Black’ experience. The Bourgeois Establishment, as is usual for its double standards, has tended to avoid virtually any of the above issues, and instead has limited the assessment of this film to being that of a run of the mill script with no reality beyond the surface presentation! This may be termed a typical ‘White’ response of ‘denial’ when confronted with the progressive dynamics of Black intelligence!
SANGHA KOMMUNE (SSR) 