Race and Vampirism: Sinners review, plus Kits Beach Walk

Image: Wunmi Mosaku doing hoodoo in Sinners

Do you remember ever encountering arguments that From Dusk Til Dawn was subtly racist? Despite the director's own ethnicity, 75% of the Mexican characters in the film are vampires; 100% of the white characters in the film are not vampires until after they are bitten by Mexicans (or by other whites who have been bitten by Mexicans); and the final shot of the film is of some sort of ancient temple under the Titty Twister (Aztec? Incan? Mayan? I have no idea) that seems to suggest that Mexican vampirism goes way back. The film, of course, vividly telegraphs that none of this is to be taken seriously, and even has a token Asian among the protagonists (useful for playing the we're-not-racist-see card, though it's interesting that he doesn't survive to the end of the film, unlike his [white] adoptive sister), but playful as it is, innocent as it may be, silly as it may be to actually try to make an "objection" to the film out of these things, there's a subtext there that should at least be observed and acknowledged, and a principle that follows on noticing it, that it's just a bit weird to allocate traits like vampirism along ethnic lines. 

Sinners does a similar thing with blacks (and a few Chinese characters, and even some Indigenous ones) vs. whites, but this time, it's the whites that are the vampires, and the climax of the film has a rather celebratory gunning down of the KKK. I am not sure that there are white characters in the film -- at least not ones with speaking parts -- who are not vampires by the film's end, unless they are members of the Klan. Even the one mixed race character, who can pass for white, ends up occupying a singularly important, treacherous role -- she's one of the first to turn and the vampire whose attack is most central to the storyline. And most oddly and intriguingly, white vampirism is also connected to white music -- with the white vampires leading their characters in hymns and Irish folk songs, which pale in comparison to the host of great black music present on the film's soundtrack (including a small role near the end for Buddy Guy!). The white vampires' favourite tune gets repeated a couple of times, too -- "Pick Poor Robin Clean," a song about consumption, which both whites and vampires are noted for. Not quite sure how to read that particular aspect of the film. Is vampirism a metaphor for white cultural appropriation of black culture? There sure has been a lot of that over the years, but as much music as there is in the film, I don't think I can support that reading, if only because the white songs in the film are so very white, not based in appropriation, but on Irish and English folk balladry. There is almost a moment in the film where you get "duelling cultures," with blacks playing blues inside a jook joint and whites playing folk ballads outside. I am not saying any of this offended me or makes the film problematic, but again, the subtext should at least be observed and acknowledged: just as most of From Dusk Til Dawn involves white characters justifiably killing vampiristic Mexicans, much of Sinners involves black characters justifiably killing either vampiristic or Klan-affiliated white ones. I guess that's progress (I'd hate to know what Armond White made of it [if you've followed his writings on popular black thrillers, it is in fact really easy to predict]). 

I still enjoyed the film, which does have some very inspired moments, and has a large role for the terrifically-charismatic Nigerian-British actress Wunmi Mosaku, previously best known to me for her work in Lovecraft Country. I think she was my favourite aspect of the film, she's just so compelling, so watchable (and pardon me if this seems lowbrow or beneath me, but she's also strikingly beautiful -- she has an unusual figure that does not correspond with the usual "fetishized female form," being tall, powerfully built, and broad of shoulder and hip; she's a triumph of sculpture in human form and steals every scene she's in, just by turning up in the shot). I'm partial to Delroy Lindo, as well, character-actor wise, whose work I've enjoyed since the under-rated 1990 film Bright Angel. There are other enjoyable performances, too ("that guy from Ballers"). But enjoyable as it was, I don't think I'll bother with further viewings of Sinners -- it's a good film to see theatrically, because you'll probably like it, maybe raising a bemused eyebrow at the sheer "kill-whiteyness" of it, which actually adds to the entertainment value -- but you will likely be content to just let it go after that. Many films I've seen and enjoyed in recent years (like Civil War) have felt that way. 

Made a good date movie, tho' (might also serve as a gateway to playing Erika Ganja and Hess someday, but... we'll see). 

After taking in the movie, Erika and I went for a walk on Kits Beach. It was a pleasant, slightly cool evening, with the sun going down. I snapped some photos, and shot a charming video of geese herding a very large, uh, gaggle of goslings. I have nothing much more to say at the moment, but here are some photos! She also thought Wunmi was remarkably charismatic (and loved the baby geese).