White Man's Burden (1995)

So much average

good back-story, and good acting

Good films always raise compelling questions, whether the format is fiction or documentary fact.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

One of the things that film can do is give the viewer a new perspective. It can be an empathetic medium, allowing us to see the world through a different pair of eyes. Or even turn the world on its head in the modern equivalent of fables. 1995's White Man's Burden from director Desmond Nakano is just such a modern fable. It's a film that takes the racial and economic status quo of America and turns it on its head with fascinating results. It's the premise that very much makes the film. As one of the film's taglines puts it rather succinctly: "Reality just changed sides." The America of White Man's Burden isn't too dissimilar from the real world of 1990s America except for one big difference: Whites are the lower class and those of African descent are the dominant class From the very first scene of the film with a group of wealthy African- Americans sitting around a dinner table being served by an older white woman in typical maid outfit with Thaddeus Thomas (Harry Belafonte) expounding deeply racist views which echo historical views about his race in our world, the truth of the tagline is clear. It's a tale that could easily have come out of Rod Serling's The Twilight Zone or from a number of alternate history works but the film (outside of some interesting choices in costumes and architecture) doesn't focus much on the how of this world. That's something that some have and will continue to complain that the film doesn't do enough to develop to set up this world, but the point isn't to talk about the past but the present and the future. The opening minutes of the film further drive that point home. The focus of the film is on men at opposite ends of the spectrum in terms of both class and race: Belafonte's business mogul and John Travolta as factory worker Louis Pinnock. It is through the differences between these two men that we are introduced to this world and a series of circumstances that build on one another. What starts out as Pinnock trying to curry favor sets off a sequence of events that will eventually lead to eviction, threats, and kidnapping. It's a plot that at once feels familiar yet different thanks to Nakano's premise. Nakano, a Japanese-American writer/director, perhaps brings a different perspective to the film than a different director might have. Some of his points aren't subtle at all, observations that have been time and time again until they become clichés. Other times they are subtle and more effective for being so such as early in the film when young Desmond (Andrew Lawrence) flips through TV channels and sees nothing but African-American characters with the exception of a TV report of a white criminal or when the same young boy goes into a toy shop on his birthday and wants the more expensive superhero action figure rather than his white sidekick. The issues are familiar from media representation to police brutality but it is what Nakano does by turning them on their head that gives the film its power.As do the performances. Belafonte and Travolta both give suitably chameleon-like performances in their respective roles. Belafonte's Thomas finds himself at times lost and at other times trying to understand the situation he finds himself in while the everyman quality apparent in some of Travolta's better performances shines brightly in this one as a hard working man forced into a desperate act which turns into a spiral from which neither man will leave the same. The interactions and relationship between the two of them form the core of the film from moments of friendliness to profanity laced confrontations. There are some surprising performances from the supporting cast as well, especially from Kelly Lynch as Pinnock's wife, who plays the role with a sense of dignity throughout and perhaps most evident in a scene where they are evicted from their home where she is the one who effectively takes charge. The three of them lead a solid, if not very showy cast.When it was released more twenty years ago, it seems to have been a blip on the radar. It was overlooked, written off to a large extent. Looking on the film with some distance, that seems unfair. White Man's Burden has interesting things to say in flipping reality around and many of its points remain relevant. If you can track it down, it's a film well worth a watch as a modern fable.

European imperialists absolutely hate looking at themselves in the mirror. This movie forces them to do so in a unique way, which causes all the meta-analytical comments herein and all the vituperative reviews. Granted Martin Luther King Jr.'s methods were not what my family and I prefer, as we'd never allow people to hurt/manipulate us without fighting back. But MLK encouraged people to let the white imperialists act like animals towards them, then force them to watch themselves act like violent savages towards peaceful people on TV news broadcasts later in the day. It worked for the intended purposes (Civil Rights Act), but that law is still largely ceremonial.The imperialists in "White Man's Burden" are perfectly aloof, disconnected and violent (police) just like the white Americans and government they are meant to portray. John Travolta and his family fill the media-reinforced stereotypical role of ignorant, poor people that must beg the imperialists for jobs, survive police savagery and live in a world where you are set up to fail and struggle just to survive. The most powerful scene IMO is when Don (Travolta's kid) is flipping through TV channels and he sees nothing but black people on every channel. The only white person who appeared while Don was channel surfacing was on a news station: a criminal wanted in connection with some type of crime. Don also preferred to buy a black toy action figure vs. a white one; the same self-hatred that is conditioned in real-life black people via media and public education.Its hard for white people to watch this movie objectively because they see their hero police as what they really are: gestapo thugs with badges that harass/assault people for no reason at all; and kill people simply because they like it. They are also forced to see the powerful conditioning imperial governments and societies force onto the oppressed class. Harry Belafonte was perfect for this role because he has lived a privileged existence for his entire life, but at the same time is a true activist who fights for the oppressed.This movie should be required viewing in all U.S. public junior highs. Hats off. Great film.

Well I have nothing but the utmost the respect for the actors in this crap movie.However, trying to make current American citizens guilty for the evil crimes of slavery that occurred over 100+ years ago, is just purely wrong.John Travolta is a good to fair actor, and there are many other good actors in this movie.If we truly want to encourage better treatment of each other, the best way is not about endlessly reminding us of the evil's of the past.But to encourage, promote and reward people for treating people fairly.This movie concept is horrible, execution is horrible.There is no remote redeeming value to this movie.I am very sorry to say that.

A REAL eye opener!! Some of the funniest "ish" I've ever seen. I've been waiting to see movie where white folks are in the black folks position in life. Everything is the way life is today only the whites switched places with the black folks. Its a little look at what we go through everyday. The stereotypes, the prejudices, the poverty and the series of unfortunate events, and most of all the racism is all on the whites' shoulders and the blacks have it opposite. Only I don't think any black man would do what John Travolta did in the movie. Others would have gone out and gotten another job. But the accent is funny as hell!!