Raid on Entebbe

In cooperation with some of the finest movie blogs I know, Lost Video Archive is proud to contribute this post to Kotto Week, an event focusing on the long, extensive and diverse career of this underappreciated actor. A full list of participants follows this post.

Raid on Entebbe

United States - 1976

Director - Irvin Kershner

Thorn EMI Home Viedo, 1984, VHS

Run Time -1 hour, 53 minutes

Raid On Entebbe is a made for television historical dramatization of Operation Entebbe/Thunderbolt which took place on 4 July, 1976.  Seven days earlier a group of 4 hijackers had taken over a plane headed from Athens to Tel Aviv Israel and flew it to Lybia and subsequently to a Uganda suffering through its fifth year of Idi Amin’s dictatorship. Israeli commandos flew all the way to Entebbe to pull a surprise raid on the airport where the remaining hostages were being held.

Contrary to what I’m sure was a tense situation in reality, it is pretty dull here, and at 40 minutes I feel like a hostage of a thinly scripted glorification of Israeli military valor and absolution from responsibility for violence. With an excessively hefty cast that includes Charles Bronson, John Saxon, Peter Finch, James Woods, Martin Balsam, Horst Bucholtz and yes, Yaphet Kotto, there is enough time to parade each actor across the screen, but not enough to give any of their characters depth. Raid on Entebbe is a film that is a prisoner of its precise moment in time, for without a knowledge of the events, it makes little sense. Nevertheless, Kotto manages well with his few minutes of screen time as Idi Amin.

Unfortunately this seems to be typical of the roles played by Kotto. His talents are restricted to supporting characters (where he nevertheless frequently outperforms the leads). Historians of blacks in film have repeatedly pointed out that Hollywood has had a very difficult time coping with a fully humanized strong black male lead. This may be why Kotto took to television, where the work was more frequent if not more empowering for his roles, but that’s only my theory. It’s simply sad that Kotto so rarely had a chance to apply his skill to a character with real human depth. Subsequently, I think there is an interesting theoretical connection between Kotto and his role here as Idi Amin. Amin was perhaps the perfect dramatic foil for the period in the mid 70’s. He was a crazy black man at a time when American culture had just exhausted itself on the Civil Rights movement and The Great Society. White people needed a reason to believe they had, and to be seen as having "done enough", to feel that they had atoned for their guilt, and that anyone who wasn't satisfied, who still wanted more, or who simply refused to be quiet were baaaaad niggers.

I’m not trying to recast Amin as merely a victim of bad press, he was very much a real tyrant. However, because his sociopathic egotism was largely meted out upon his own people it made him easier to dismiss in the West. He could be treated as a pitiable, posturing “martinet”, and exemplified as a "type". The white status quo didn’t (and still doesn’t) know how to deal with forceful and assertive black characters who act bigger than the britches they have been given, so it continues to disempower, mock and stereotype them, including by relegating them supporting or comedic roles in film and history.

Aside from pointing out that Israeli commandos are good (and they were, but  even that is boring in this film), Raid on Entebbe manages to not say much at all except that Idi Amin was unstable and vindictive. Any film about Amin practically begs comparison to other performances of this unique and bizarre historical figure. Joseph Olita’s in Amin: The Rise and Fall, Julius Harris’s in Victory at Entebbe, Forest Whittaker’s in Last King of Scotland, and the real deal himself in Barbet Schroeder's documentary Idi Amin Dada: A Self Portrait which feels as much like an elaborate put-on as any of the others. In the few minutes of screen time he is afforded as Amin (this film is really about Israels political image), Yaphet Kotto manages to better the first two and come damn close to the second two. It is ironic that Yaphet Kotto makes Amin the most interesting and complex character in an otherwise boring film.

This VHS cover (?) comes from Amazon U.K

This poster I got from The Warsaw Jewish Film Festival site is the creation of artist John Solie, his signature appears on the far left next to the C-130 aircraft. Solie was responsible for innumerable posters in the golden age of poster art. You can read my blurb about him here.

This poster courtesy NYCJunta.

Visit these other participants as Kotto Week progresses:

Monday Nov. 15th
Unflinching Eye - Alien
Raculfright 13's Blogo Trasho - Truck Turner
Tuesday Nov. 16th
Lost Video Archive - Raid on Entebbe
Manchester Morgue - Friday Foster

Wednesday Nov. 17th
Booksteve's Library - Live and Let Die

Thursday Nov. 18th
Mondo 70 - Drum
B Movies and Beyond - The Monkey Hu$tle
Cinema Gonzo - Report to the Commissioner

Friday Nov. 19th
Illogical Contraption - Eye of the Tiger 
Ninja Dixon - Across 110th St.
Lines That Make Things - The A Team (TV episode)
Things That Don't Suck - Blue Collar
Saturday Nov. 20th
Breakfast In the Ruins - Bone
Lost Video Archive -  The Park Is Mine

Manchurian Avenger

Manchurian Avenger
United States - 1985
Dir. – Ed Warnick
Thorn EMI/HBO Video, 198?, VHS

There were words said somewhere about this film having Charles Bronson in it, or I’m crazy. It does not, but it does feature a torrent of schlock, and an angry Asian guy who has the same canyonous face as sir Bronson, thus follows the metaphor.Very low budget disembodied dubbing and anti-chinese racism introduce the film, and a simul-scene of Bronsonesque mustachioed Chinese guy coming into town drive the point home. Now you know there’s going to be some throwdown. Terribly scripted TV quality humorous racist stereotypes that smell frightfully of Three Amigos.
Goofy music accompanies scene of Chinamans stage-coach being ambushed by banditos, and following that another scene of Chinese Bronson defeating a bunch of outspokenly racist cowboys in a bar, with a humorous one line at the end that falls flat.

Two Chinese Americans serve as awkward English speaking siblings to out of place non-comunicative(actual Chinese guy) Bronson. There is a secret trove of gold related to which, Bronson utters one liners and initiates the first of a series of brutally dry, dark and uneventful flashbacks.

Another poorly shot fight scene between Bronson and some racists contributes to a distinct feeling of monotony. There is no building crescendo of humor, but rather a constant flat stream of shoddy painful mediocrity. On top of that, fourth gay/childish sibling goes in search of the “four winds” and brings another stumbling synthesizer scored flashback scene crashing down onto the rapidly accumulating wreckage of this movie.

The final showdown features a thoroughly boring and unconvincingly edited fight scene between Bill “Superfoot” Wallace the Bronson mimic set to what I can only describe as science fiction movie music and a total absence of empathy for any of these people from me.
With little discernable logic but grim determination this film bursts the misguided low budget genre cross-over dam, flooding its kung fu western setting with a relentless deluge un-humorous one liners delivered haltingly by a full round of racial charicatures. Alas, despite such a downpour of good intentions, only the cacti of irony grow in this celluloid desert.

Flashpoint

Flashpoint

United States - 1984

Director- William Tannen

Thorn EMI Video, 1984, VHS

Director Tannen hasn't done ass in the way of film since this, his debut. Probably 90% of his films are ass, but admittedly I've only seen two of the other films he directed, both of them among Chuck Norris's worst films. In that context anyway, Flashpoint should seem pretty good, and I think William Tannen would agree.

Ernie (Treat Williams) and Bobby (Kris Kristofferson) kick it off as two unruly Texas Border Patrol agents, a thankless job just made thankless-er by the announcement that the department is making some personnel cutbacks. And to add insult to injury, they themselves have to install the geo-sensors that will monitor the border instead of them. The first half of this movie is all pretty straightforward, at least when compared to the second half, but now it definitely warrants a second viewing, when I'm actually paying close attention. Let's just hope this convoluted political conspiracy trick doesn't rub thin too fast.

In the bush, Bobby accidentally discovers a jeep buried in the sand, and after digging it out finds among the contents a sketeton, a scoped rifle and 80,000 bucks. Seeing it as his and his buddy Ernie's chance to get lost, he lets him in on the find. Despite his fiery temper, Ernie is scared of getting caught and hems and haws, dragging his feet along the way. Their jerk boss assigns them to stake out a remote airstrip where drug shipments are arriving from Mexico, but they must cooperate with some super shady federal agents led by the icy Agent Carson. When the plane lands it's clear that the Feds have something up their sleeves when the bust is foiled by aberrant gunfire. All this business is a little weird, but it's set to get weirder as soon as Ernie and Bobby start to trace the info in the skeletons wallet. Some disconnected phone numbers in Washington DC, and a license plate. The Fed exceeds the friendly groping demarcation line and gets altogether too friendly. E & B's plan starts to unravel.

Once all the serious "conspiratorial cover-up" starts flying, I'm still not sure where the "flash-point" is, but everybody gets distinctly more hostile towards each other. The interaction between the characters throughout the entire film has almost been a wonderful dream, but the final resolution, despite the setting, is historically abrupt. In the final dial up, the ultimate reveal concedes at least one of two unfortunate facts, either:

a.) you have a working knowledge of JFK conspiracy theories, and figured this movie out in the first 5 minutes.

b.) you didn't pick up on that connection in the first hour and 20 minutes but will, in the last 5 minutes, accept and be convinced by a flashing crosscut shot of a JFK death newspaper article, and a desperate morality monologue.

This movie doesn't rock, but it tries hard, and it's worth sticking around through the stellar dialogue even if the payoff is barely worth the money.