Boss Nigger (1975) review

BOSS NIGGER 1975 aka BOSS

Fred Williamson (Boss), D'Urville Martin (Amos), William Smith (Jed Clayton), R.G. Armstrong (Mayor Griffin), Don "Red" Barry (Doc)

Directed by Jack Arnold

"Yeah, sheriff, I wants to thank ya. Sorry we ain't got time to stay for supper, but, uh, we got us some mo' whitey's to catch."


Boss and Amos are two bounty hunters trudging across the violent western frontier in pursuit of wanted men. They enter the dusty town of San Miguel and discover there is no sheriff and also learn that the town is lorded over by the vicious Jed Clayton and his gang of cutthroats. With much of the town against them, the two African American bounty killers launch an assault on Clayton's gang eventually rallying some of the town to take up arms against the ruthless bunch of outlaws.


Fred 'The Hammer' Williamson writes, produces and stars in this companion piece to his previous black westerns, THE LEGEND OF NIGGER CHARLEY (1972) and THE SOUL OF NIGGER CHARLEY (1973). Here, in BOSS NIGGER (1975), comedy seems to be the order of the day due most likely to the popularity of BLAZING SADDLES released the year before. The whole plot device of a black man entering a white town, taking over as sheriff only to receive resistance from the towns inhabitants prior to winning them over after dispelling a threat was the driving force of Brooks' film. Here, it's played for laughs as well, but with much less success. Some of the gags are funny, but they get right silly at times.


The 'N' word is tossed around with frequent rapidity from both the white and black cast members dozens of times. This film quite possibly holds a record for the most times that word has been uttered on film. Williamson is obviously having fun with this role, much as he seems to enjoy nearly every role he takes on. As to his own testimony, he only does what he wants to do.


The film opens with this disclaimer from Fred Williamson himself: In 1972 I had just completed THE LEGEND OF NIGGER CHARLEY and THE SOUL OF NIGGER CHARLEY. I made this sequel which you are about to see. I used the 'N' word to create sensationalism at the box office, and all three films were a success. You have to remember that all who used that word against me in those films regretted it. Enjoy the movie. I approve the title and the song with dialog intact. Fred "The Hammer" Williamson, 2008.


Williamson enjoyed doing western movies as they were economical and cost efficient in that no permits were needed for big action scenes or blowing up cars or buildings. After starring in the above mentioned westerns, Williamson began work on another western entitled BLACK RIDER. The film ultimately became JOSHUA (1976), which began production in 1974. That film was shelved for a time until Williamson could raise the money to finish it. It was one of the first of Williamson's Po Boy Productions (the name of his production company).


Before the film was completed, another western under the Po Boy banner, ADIOS, AMIGO (1975), was released. That film was a straight up comedy and starred Fred Williamson and Richard Pryor as a couple of bumbling buddies getting into trouble in the old west.


Comedy also takes up a lot of screen time in BOSS NIGGER (1975) with a lot of it falling flat. There are some very funny moments though, such as one ruffian in a bar asking for Boss to come and shine his boots. Boss pretends to oblige only to shoot a hole right through the mans foot and kill another with his sawed off shotgun. Boss and Amos jail the rest of the troublemakers. A short time later, Jed Clayton comes into town to break his boys out with dynamite. The plan backfires. The same man with the hole in his foot gets left behind and Amos walks up to him and shoots him in the other foot to make sure he won't get away.


Amos also puts up a list of 'Black Mans Law' around town. Whenever anybody breaks one of the rules (such as uttering a derogatory or racial remark) they are thrown in jail. The rules are broken a number of times resulting in some of the more prominent figures in San Miguel being imprisoned. The laughs cease almost entirely at the one hour mark and the film becomes serious save for one or two minor comedic moments. Boss is eventually captured by Clayton, beaten and has a hole shot through his hand. Amos rescues him setting up the big finale. The ending features an explosive battle between Boss and a few of the townsfolk against Clayton and his gang.


William Smith is an actor with a massive resume in both film and television. He had previously traded blows with Fred Williamson in HAMMER (1972) where he played one of the main heavies. Smith got some big notoriety as one of three Texas Rangers in the western series, LAREDO (1965-1967) as well as during the last season of the 12 season long cop show favorite, HAWAII FIVE-O (1968-1980).


Smith is also notable as the king of the biker genre with his starring role in the hugely successful RUN, ANGEL, RUN (1969) which beat EASY RIDER (1969) to theaters by a few months. In BOSS NIGGER, Smith plays the sadistic Jed Clayton and it's the type of role he excelled at; a sleazy, violent and unpredictable miscreant that isn't above killing women and children. Fred Williamson once stated in an interview that William Smith was probably the toughest man in the world during the 1970's.


D'Urville Martin was a regular face in blaxploitation movies. He was often cast as Williamson's partner in his movies such as his recurring character in both the NIGGER CHARLEY westerns and the two Tommy Gibbs movies, BLACK CAESAR (1972) and HELL UP IN HARLEM (1973), where Martin played the docile Reverend Rufus. Martin was anything but docile as mean Willie Green in DOLEMITE (1975) starring comedy sensation, Rudy Ray Moore. Martin also directed this movie.


Director Jack Arnold will ring a bell with fans of science fiction movies of the 1950's. Arnold was responsible for some of the most enduring sci fi pictures such as IT CAME FROM OUTER SPACE (1953), CREATURE FROM THE BLACK LAGOON (1954), its first sequel, REVENGE OF THE CREATURE and TARANTULA (both 1955 and both featuring brief roles by Clint Eastwood).


Following those films is the seminal THE INCREDIBLE SHRINKING MAN (1957) and a couple lesser films like THE SPACE CHILDREN and MONSTER ON THE CAMPUS (both 1958). Arnold later went on to a hugely successful career directing television programs and his name can be seen on the credits of a fair number of GILLIGAN'S ISLAND episodes. Arnold also directed BLACK EYE (1974) also starring Fred Williamson.


The soundtrack, and its title song, 'Boss Nigger', are a bit out of place considering the setting. Most people would expect a more traditional western sounding score. One of the cues sounds amazingly like equal parts 'Shaft' and the Temptations classic soul song, 'Papa Was A Rollin' Stone' from 1971. The thematically blaxploitation style score is also prevalent in Williamsons' previous black westerns.


Although the actual filming isn't discussed much in the interviews on the disc, I would assume the film had a short production schedule. Most notably during the big finale, there are several scenes where there are no pick up shots that could have improved the dramatic element of those scenes. One scene involves the battered and bruised Boss leaving his office after Clara Mae has been captured by Clayton. Both Boss and Amos are a distance from the camera as Amos begs Boss to stay in town. The camera never cuts to Boss' face to capture his emotion or even that of Amos. The camera remains stationary as the two go back into the sheriffs office.


Another example is during the scuffle between Boss and Clayton. At one point they both fall over behind the bar. You hear grunts and punches, but you see nothing for a brief time till the two stand up and continue on in front of the camera. Had there been some inserts during these two scenes in particular, the dramatic tone would have been increased considerably.


BOSS NIGGER (1975) is an entertaining blaxploitation western film with plentiful action scenes and likable leads and another good villain role for William Smith. Definitely a fun popcorn adventure, it caters very well to those who have a love for politically incorrect films of the 1970's and blaxploitation cinema in general. It's never trying to be a great movie, but it encapsulates the style and a time in movies that will likely never be repeated again.

This review is representative of the VCI Entertainment All Region DVD.