In a perfect world, this critique of Kobi Libii’s “The American Society of Magical Negroes” would consist solely of a tiny sentence brazenly stolen from a stranger. “Yeah, it’s a no for me.” That’s it. That’s the review. However, a word count minimum for the sake of website and print broadsheet layout copy requirements means that the story must go on for the film that opened in theaters on March 15.
The aforementioned quote was a distinctly audible act of revulsion from an otherwise quiet woman after she was subjected to the film’s trailer during previews for Ava DuVernay’s “Origin.”
Following her statement, she chuckled aloud upon the realization that she had publicly shared her private disdain with the whole theater full of guests. Her giggle created a ripple effect. She said out loud what everyone had all been thinking while suffering through the preview. Sadly, that moment of laughter – while attending a different movie altogether– was the only one that I can attribute to “The American Society of Magical Negros.”
In all fairness, the trailer does not do the film any favors. Even with its bountiful shortcomings, “The American Society of Magical Negroes” 104-minute film is a much easier watch than the two-minute clip that magnified the film’s flaws to epic proportions.
I secretly hoped that somehow the film would get the masses to finally recognize the brilliance of stage, film and television veteran David Alan Grier despite its problematic nature, like Viola Davis in “The Help.” Unfortunately, “The American Society of Magical Negroes” – which refuses to decide whether to be a satire or a romantic comedy – betrays his gifts by relegating his character Roger to a single dimension. In all fairness to Sibii, such is the case for most “magical Negro” tropes in feature film – a term popularized by Spike Lee nearly a quarter-century ago. Roger’s sole purpose was to train his protégé Aren to sacrifice his own best interest for the sake of being an emotional support human and a white comfort conduit – which is the “magic” they offer the world. Roger recruits Aren after noticing his natural ability to shrink and comply in a predominantly white space.
A life dedicated to placating in the name of white fragility is not magic – it is emotional oppression. And for millions of Black people, the tactic has a well-earned spot on the Mount Rushmore of racial terror. It was a practice forced upon multiple generations who knew that their life could depend on how they made white folks feel. It was a relief that Libii made this clear in the film. But he never does reveal the inciting incident that compelled his Magical Negroes to band together and voluntarily lay down their societal agency – which unenchanted Black people were historically forced to surrender – for the noble effort of preserving Black lives. All audiences know is that the American Society of Magical Negroes was formed hundreds of years ago on Monticello, the plantation of former president and slaveholder Thomas Jefferson.
Audiences know even less about the film’s lead Aren. Roger, Aren and the other “magical Negroes” are completely unseasoned with respect to character development. This could have been a calculated satirical move. The skeletal arcs may have been a nod to the notion that during enslavement and subsequent oppressive systems of segregation – and even as the token Black actor in a film – many white people’s concept of Black life only extended to how they could be of service to them. The only backstory served up for Aren is that he has a white mother and is a starving artist. He has no friends or family (other than his white mother). His personal circle consists of Roger, his “client” Jason. Aren has his work cut out for him with Jason, who fails to acknowledge his privilege in a system that is set up for him to win and is clueless as to how his implicit biases can impact those around him. There is also Lizzie – the woman Aren wants to woo but can’t pursue because it will conflict with his magical Negro duties.
More of the film is devoted to the complicated romantic dynamic between Aren and Lizzie than fully fleshing out the satirical elements and social criticisms. After an hour-and-a-half of side-eye worthy antics that serve up white comfort at all costs, the system in which the magical Negroes operate gets upended. But the payoff comes too little too late – as does Jason’s tiny hint of acknowledgement of his bigotry and microaggressions.
With the exception of a compelling monologue that explains the driving force behind Roger’s work, Grier doesn’t truly get a chance to shine. “The American Society of Magical Negroes” also fails the talents of actress Aisha Hinds in her role as Gabbard. But Justice Smith is captivating as the timid but overwhelmingly charming Aren. Despite the challenges that the flaws of the film present, Smith manages to simultaneously show himself as a natural romantic comedy lead and a lovable underdog. An-Li
Bogan (Lizzie) and Smith have undeniable chemistry – and Drew Tarver is proficient as Jason.
The American Society of Magical Negroes is now open in theaters nationwide. The film is rated PG-13 with a running time of 104 minutes.
