One of the earlist forms of "Kill Whitey" cinema, at least 5 years before "Sweet Sweetback" and all the other childish,amateurishly made,anti-White films that would pollute the '70s.This underground piece of the 196660s,is one of the earliest examples of horrifically awful pretentious films dealing with race,because they portrayed Whites in the most childishly,one-dimensional,grossly inaccurately as possible,absolutely burning them at the stake because of their "squareness" and "unhipness",that we were evil because we didn't unconditionally "love" Blacks with the total abandon that Blacks like Jones/Amiri Baraka believed they were deserving of ( Typical Black racist Hubris of that era,as also spewed by the equally ignorant likes of Dick Gregory,Muhammad Ali,Richard Pryor,James Baldwin,Miles Davis, Ossie Davis and Ruby Dee,to name but a few ),and that Whites were just supposed to self-genocide themselves out of existence,thanks to a White /Jewish Liberal self-righteousness/sense of of "guilt" they believed they should feel,because of the decades of enslavement/separation/segregation of Blacks ( Which,hopefully,people are learning, MUSLIMS are far guiltier of such crimes against Blacks ,that Whites ever were ), based on decades of Marxist /Communist/Beatnik propaganda, and that Blacks are the abslolutely innocent,pure Salt Of The Earth,and Morally Superior. And as of 2010, have White/Jewish Leftists realized the hysterical idiocy and errors of this mindset,and started making films that portray Whites as being far more innocent and right throughout history than they believed, and Blacks more guilty - especially,in the areas of interracial robbery,rape and murder, and stupidity and how pathologically destructive their behavior has been on civilization? Absolutely not.
Time Out saysHarvey's transition from editor to director is a brilliantly spare, edgy adaptation of LeRoi Jones' play, basically a two-hander set on a New York subway train: a grim duel between cat and mouse as a rangily sexy white woman circles a young black sitting alone, deliberately teasing, taunting, flaunting herself in a perverse attempt to break his control. Resentment and attraction crackle through the dialogue (and the superb performances) in an almost orgiastic expression of provocation and desire, until she wins and the black is goaded into retaliation. It ends, of course, in violence: a devastating acknowledgment that this is just about the only ground on which black and white can meet. The film's one minor flaw is when the camera eventually pulls back from the duo to reveal that the carriage has filled with commuters studiously minding their own business; true to life, perhaps, but it comes over as a facile trick.