(Note: This piece contains spoilers about the film’s content. If you wish to avoid them, please stop here.)
Ryan Coogler’s film has captivated audiences across the U.S. Warner Bros. recently announced it will be re-released in selected theaters from May 15th to May 20th.
This historical thriller explores various aspects of Black life, touching on everything from 1930s sharecropping to chain gangs and the Ku Klux Klan. Yet it also highlights themes of joy, love, and resilience.
For some viewers, the film isn’t particularly frightening, according to Garth C. Reeves, a scholar at Florida A&M University.
“The real horror is reality. If I had to choose between a vampire and the Klan, I’d pick the vampire,” Reeves observed. “You’re faced with ongoing issues—people still working the land, still picking cotton, and not being paid what they deserve.”
Reeves suggests the enduring fascination with Coogler’s work stems from its grounding in reality.
“It doesn’t resemble a classic horror flick with monsters lurking to get you. To me, the system itself feels more like the real boogeyman,” she noted.
Three key dimensions of Black existence are intricately woven into the fabric of the film.
Music
Coogler’s approach to music transcends mere atmosphere or plot development. Here, music acts as a powerful instrument and a symbol of liberation.
The narrative heavily features blues music—a genre rooted in the experiences of enslaved people and their descendants during the Reconstruction era.
Coogler’s character Bruce comments, “It resonates within our whole being. It recognizes the pain tied to our experiences, desires, and the complexity of our human condition.”
The character Sammy, a young blues singer and guitarist, expresses his frustrations with his father and aspirations through music in a new juke joint set up by his cousin.
Interestingly, Nettle mentions being particularly moved by Sammy’s “I lied to you” scene, which highlights the most powerful chain gang and its profound musical background.
Delta Slim, portrayed by Delroy Lind, recounts a friend’s tragic fate before breaking into song, inviting Sammy to join in an improvised musical moment alongside Smoke, played by Michael B. Jordan.
“Music lives within us, often tying us to our shared history,” Reeves stated. “Even in scripted performances, the relationship with music illustrates our shared struggles and expressions.”
Coogler also examines how music fosters cultural connections across generations.
In a pivotal scene at Club Juke, Sammy sings about his adoration for the blues while envisioning the evolution of future music forms like rock and roll and trap, illustrating how blues laid the groundwork for other genres.
Serena Göransson, the film’s soundtrack executive producer, expressed her hope that viewers will grasp the blues as a monumental cultural legacy both in America and globally.
“We’re exposed to every genre of popular music. It’s crucial for people to understand and appreciate not just rap and hip-hop but also the artists who pioneered it and continue to create music,” she mentioned. “Awareness of their cultural contributions and their impact is important.”
Religion
The title itself suggests a dive into religious themes and concepts of sin. The film raises questions about whether a love for music could itself be sinful, grappling with issues like infidelity and freedom.
Additionally, it addresses the waning spirituality among many Black Americans.
In a crucial moment, Slim speaks to Sammy, the preacher’s son, discussing how Black Americans often experience religion differently.
When enslaved Africans were brought to America, many brought their own belief systems, but those were largely replaced by Christianity—a transition forced through severe consequences.
The film contrasts Christianity with hoodoo, a faith often depicted negatively in mainstream media.
Sammy seeks acceptance from his father and grapples with the constraints of his father’s beliefs, while African spiritualism offers a form of safety and wisdom.
Smoke alludes to surviving the hardships of World War I, attributing part of his resilience to a Mojo bag given to him, representing a crucial link to his heritage.
Nettle believes Coogler presents hoodoo in a nuanced way not often seen in films.
“We betray our ancestors when we trivialize the spiritual elements passed down through generations of African traditions. Whether you believe it or not, it deserves respect,” Nettle noted.
Outsiders
Many viewers on social media pointed out Remmic’s attempts to “save” characters in the Club Juke, likening him to a white savior figure.
He proposes to Annie and Sammy a vision of equality and freedom from racism’s grip.
Critics argue that this scenario reinforces the idea that Black individuals cannot achieve freedom without white intervention. Even if the intentions seem noble, the underlying implications of white superiority remain.
However, Nettle argues that Coogler successfully contrasts outsiders with those who genuinely advocate for cultural respect.
Remmic expresses a desire to share his story with Sammy while also wanting to engage with the pastor’s son.
“Remmic comes from a time before racism,” Nettle explained. “The whole construct of race as we know it evolved from the legacies of slavery, but in his era, that didn’t exist.”
Remmic recognizes Sammy’s ancestral strength and his connection to history.
In a similar vein, Hailee Steinfeld’s mixed-race character Mary grapples with acceptance in her various communities, reflecting her own struggles.
As a white woman whose mother supported many in Club Juke, Mary hesitated entering until Annie embraced her within the family circle.
“It’s not that she imposed herself on the community; it was always part of her heritage,” Nettle observed. “When we discuss Blackness, it’s not just about skin color. Black identity can be complex and multifaceted, requiring nuance in understanding belonging and inclusivity.”
