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Dutchman 1967
Description: A young conservative black man, minding his own business, rides a nearly empty subway car. The only another passenger, a blonde vixen looking for trouble, sizes him up. Sexual tension, racial bigotry and righteous fury collide in a razor's edge confrontation between this unlikely pair.
Released: 01 Jul 1967 Director: Anthony Harvey Writers: Amiri Baraka (play), Amiri Baraka (screenplay) Actors: Shirley Knight, Al Freeman Jr., Frank Lieberman, Robert Calvert Genres: Drama
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Dutchman Reviews:

Strange, allegorical drama about the struck-up-on-the-spot relationship between two passengers in a Fresh York Town subway car: a black boy (Al Freeman Jr.) and a white girl (Shirley Knight) flirt with every another and engage in adult banter. As they alternately beguile and exasperate every other, their conversation reflects the sexual and racial tensions between them. The movie is set entirely in the subway car, making for a claustrophobic atmosphere. Knight overacts some of the time (ok, a LOT of the time), laughing loudly, rolling her eyes, and touching Freeman in territories where the NYC Transit Authority would probably prefer its patrons to not be touched, but she's never less than interesting and Freeman's more-subdued performance balances things out (although he gets to deliver a blistering, mad monologue near the end). DUTCHMAN's shocking climax is a disturbing culmination of the provocative racial and social themes presented in the film; the film's hour-long length allows for these concepts to have instant impact.


A brutal 55-minute adaptation of the LeRoi Jones play. Shirley Knight is a white girl who verbally (and seductively) abuses a seemingly mild mannered black boy (Al Freeeman Jr) on a NYC subway train. She's alternately taunting and teasing and when she goes too far, Freeman explodes in a fit of rage. Their encounter serves as an in-your-face metaphor for the racial unrest running rampant in the US in the 1960s and it still packages a punch. Knight is startling and Freeman is perfect in what is essentially a two hero play. John Barry's razor sharp score adds a lot and director Anthony Harvey is not hampered by the confined zone of the set (an astonishing recreation of a subway vehicle filmed on a sound scene in England). Brutal honesty.


Amiri Baraka is a poet. When you critique this movie, or even intend to appreciate this movie, you have to hold that in mind. You're watching poetry turned into a enjoy turned into a movie. I gotta admit I was a tiny concerned about how a conversation between two folks on a subway train was going to entertain me for an hour, but it did.I hear a lot of folks talking about how Shirley Jackson overacted, but it was clearly done on purpose and done so with gusto. Lula isn't an obnoxious woman in a skimpy dress and sandals, she is a blazing beacon for the destruction of a culture. I vastly appreciated and quite frankly was in awe at how masterfully inhuman she was in this film. Something as poor as Lula isn't supposed to be played as understated or restrained or demure. She is a murderer, and she represents centuries of hatred..every unhinged, upstaging part of her. Al Freeman Jr. was equally as impressive in his own rite, and his part DID call for restraint, until the end that is. The language used in the movie is pretty in all of its basement dinginess. Don't expect to understand each word or sentence. A lot of it is supposed to evoke a mood rather than create sense literally. If you wish to see a minimal but bone-crushingly strong and inspiring meditation on the terpitude of our culture, of EVERYONE'S culture, then check out this movie. You'll be thinking about it for a while.



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