The Spook Who Sat By the Door (1973) review

THE SPOOK WHO SAT BY THE DOOR 1973

Lawrence Cook (Dan Freeman), Janet League (Joy), Paula Kelly (Dahomey Queen), J.A. Preston (Dawson), Paul Butler (Do-Daddy Dean), Don Blakely (Stud Davis), David Lemieux (Pretty Willie), Joseph Mascolo (Sen. Hennington)

Directed by Ivan Dixon

***NOTE: This review is strictly my own opinion and observation. It is not intended to make a political statement, but comparisons are made to the increasingly heated political climate of the United States today.

"I want people to think...you don't act first and then think. You think first and then act. That's why we were given brains. That's why we don't act instinctively. When we do we're wrong. Which ever way they go, I want them to think about what I've had to say. I'm not tryin' to recruit anybody, I'm not tryin' to prophesize, I'm not tryin' to convince anybody...I want to shake up the man! I want people to look at that movie and go outa' there thinkin'..."--Sam Greenlee interview on DVD


The Short Version: This strikingly volatile protest movie written by Sam Greenlee from his own novel is an important, yet controversial indictment against oppression and discrimination. Arguably the single most significant African American production of the 1970's, it transcends what many would classify as "blaxploitation". This is not exploitation, but a serious look at racism and the need for people to be accepted and stand on their own two feet. What follows is a fictionalized, but still relevant and wrathful diatribe against white America of the day. Truly a brilliant piece of filmmaking.


After being accused of racial insensitivity by a politician who is lagging in the polls, the CIA recruits a group of African Americans to be trained as agents. Dan Freeman is the only one who passes. Seeing the discrimination around him, Dan realizes nothing has changed and he is only there due to political reasons. Eventually leaving the CIA, Dan returns home to Chicago and secretly trains African Americans living in the inner city slums to be militant freedom fighters. The word spreads to cities across the nation resulting in violence between the militants, local police officials and the National Guard. Going to war against the establishment, Freeman's fight isn't so much about race, but about freedom.



When I began getting into black action films back in the early 1990's, I often lumped them all into the blaxploitation genre. Since then, it seems even African American authors who have written about the genre, seemingly place any black oriented production into that category. Many consider it an offensive term and I can understand that when important films such as this are saddled with that label. That's why I created this separate category (see blaxploitation sidebar to the right) for what I consider movies about African Americans (or race relations) that aren't necessarily about action and violence, but have something serious to say regardless of how offensive, or controversial the subject matter. DETROIT 9000, MANDINGO and ACROSS 110TH STREET are some films that fit this criteria in my eyes. However, THE SPOOK WHO SAT BY THE DOOR (1973) staunchly represents this category above all others.



Based on the novel by Sam Greenlee, this thought provoking, incendiary and highly controversial movie is one of the most important, if not THE most important race film of the 1970's. What makes Ivan Dixon's picture so engaging NOW is that this film resonates just as much today as it did back then. However, viewed today in light of the recent spate of politically charged racist remarks from the new Black Panthers and the seemingly disgruntled and damaging agenda of the current President, the ideals present in this movie are somewhat skewed and prophetic when viewed today. What's also noticeable is how little people have changed, both black and white in today's social climate.

Student: Cool it. If you weren't so eager to please the white man and send the grading curve up there'd be three times as many of us here now. What kind of 'Tom' are you, anyway?

Dan Freeman: Same as you, I guess. Except I don't try to have it both ways.


At the time, this was a wake up call for acceptance and for those oppressed to stand up and take control of their lives. The film itself is an offensive, angry indoctrination on civil rights and the fight for acceptance and what author Greenlee states as self reliance. The interview with Greenlee is just as fascinating and attention getting as the film itself. An obviously learned, philosophical man, Greenlee takes no sides and tells things how it is. Regarding empowerment to African Americans, Greenlee says this among many other things in his interview...

"Now we're talkin' about integration, now it's diversity, and the latest thing is reparations...which aint nothin' but beggin' for crumbs from the white man's table. And we oughta' be about the business of buildin' our own tables and bakin' our own bread!"

This point is is in evidence during a conversation between Dan and Pretty Willie. The exchange is below...


Willie: Ya' know I can't figure you.

Dan: What's to figure?

Willie: I mean what are you in this for? You want power, you want revenge? What is it?

Dan: It's simple, Willy. I...just wanna be free. How 'bout you?

Willie: So do I. And I hate white folks.

Dan: Hate...white folks? This...is not about hate white folks! It's about lovin' freedom enough to die, or kill for it if necessary! Now you gonna need more than hate to sustain you when this thing begins. Now if you feel that way, you're no good to us...and you're no good to yourself! You ever kill a man, Willy?!

Willie: ...No.

Dan: I have! In Korea...and when you spill a man's guts in the gutter you see how fast hate disappears unless...you like killin' and I don't think you will. Now some of the Cobras will. Stud will.

Willie: Why Stud?

Dan: Because he's a killer. He doesn't know it yet...but he is.


Greenlee's statement about "beggin' for crumbs", is used by Cook's character in the film when discussing things with the Cobras. Also of note, the fictionalized violent message in the film isn't the intention of the filmmakers, or Greenlee himself. It's all about self reliance and making one's own way. The violence of the film is a response to the oppression of the times. It's a release of the anger that surely was felt by African Americans of the time. Another way this picture is strangely prophetic are the parallels to the allegations that the Central Intelligence Agency had a hand in the training of Osama Bin Laden and the Mujahedeen, Afghan fighters engaging Soviet forces in Afghanistan in the late 1980's.


Just as Dan Freeman does for the Cobras and the other militants in THE SPOOK WHO SAT BY THE DOOR, Bin Laden allegedly took the training learned from the CIA and taught it to his own growing, private army (Al Qaeda) which would be instrumental in the 9/11 attacks on US soil.


Although it's obvious the production had little money, what makes the guerrilla filmmaking of SPOOK work are its screenplay (by Greenlee, himself), the performance of Lawrence Cook as Dan Freeman and the pictures angry atmosphere which will no doubt hit home and be viscerally understood by those who lived through the Civil Rights Movement of the 1960's and into the 1970's. Special attention should be paid to the Civil Rights Act of 1964, the Voting Rights Act of 1965 and Dr. King's assassination and the Poor People's March of 1968. The latter march was a unification march for all races to perpetuate change in American society and our economy; something currently lacking in this current administration. Dr. King wished for peace and freedom for all men.


THE SPOOK WHO SAT BY THE DOOR (1973) wants the same thing, but gets its pent up frustrations across as a wake up call for those to stop waiting for hand outs and start paving the way for a future of self sufficiency and dependence in one's own ability to obtain and succeed. Pulled from distribution by United Artists for fear of the violence the film may incur, the film has been restored and was re-released on DVD in a respectable special edition back in 2004. This film is a brilliant work that doesn't deserve to languish in obscurity, but should be seen by any serious film fan, or anyone with an interest in society in general.

This review is representative of the Obsidian Home Entertainment DVD

Rec 2 (2009) review

REC 2 (2009)

Jonathan Mellor (Dr. Owen), Manuela Velasco (Angela Vidal), Oscar Zafra (Jefe), Ariel Casas (Larra), Alejandro Casaseca (Martos)

Directed by Jaume Balaguero & Paco Plaza

The Short Version: Action oriented sequel treads very similar ground from the first film, but makes some choice alterations to what little was established prior. Regardless of 'the same old thing', there's some grand scares, surprises and nicely done suspenseful moments. A worthy second chapter in this increasingly interesting series.


A SWAT team and a doctor enter the Barcelona apartment complex to assess the situation inside. Once they've entered the hellish building, they uncover shocking secrets and the truth behind the deadly contagion that has turned the occupants into ravenous zombie like creatures.


After hearing a rave review of the first REC (2007) from a friend, I immediately picked up the Spanish DVD in anticipation of the proposed hair raising and goose bump inducing qualities found therein. Needless to say, it turned out to be the scariest movie I'd seen in a long, long time. The ending was truly terrifying and stunningly shot capturing the maximum amount of terror. An inferior American remake titled QUARANTINE, was quickly put into production and was virtually a shot for shot remake of the original Spanish shocker. Now, the original films deadly duo, Balaguero and Plaza return for the second round in this furiously fast, roller coaster of a sequel.



One thing that will become immediately obvious to those watching is the similarity to ALIENS (1986) what with the use of the armed SWAT team that enters the ominous apartment complex. They all have their own helmet mounted cameras and occasionally, the view switches to a picture in picture image. In a nice move that brought HALLOWEEN 2 (1981) to mind, the film picks up minutes after the first film has ended. It only takes about ten minutes before both the unsuspecting soldiers and the audience are suddenly thrown into the action.


Whereas the first film ended with that truly terrifying finale in the upstairs penthouse, the sequel takes our protagonists there right from the start. Even though a high quotient of the suspense has been drained due to the almost identical set up from the first time around, you can't help but wonder when, or if something will pop up. It's here in the penthouse that the first and most radical script alteration is seen. Depending on how you felt about the nature of the horror elements in the first film will play a major role in how you feel about what the filmmakers do with it in the second one.



Personally, I had no problem with it. Even after reading about the turn of events regarding the contagion, it was still a bit of a surprise, but didn't detract from my enjoyment. Still, people shouldn't complain too much considering the ending of REC (2007) hints at the plot device this film runs with. Furthermore, I couldn't help but be reminded of Lamberto Bava's DEMONS (1985) as REC 2 shares some similarities with that Italian favorite as well. Really, though, some kind of change had to be made to keep the film from being a note for note clone of the previous picture. There's also another shocking surprise that comes out of nowhere around the hour mark.


There are more than a few terrifyingly harrowing sequences found in REC 2. They include a brief scene inside an air vent, an irrefutably intense scene where Larra finds himself separated from the group with the infected monsters all around him and the taut, fright inducing finale when the last survivors confront Tristana Medeiros, the ghoulish monster seen during the conclusion of the first picture. This last segment also introduces a high level of the supernatural that adds even more to the creepy conclusion.



While I wouldn't say REC 2 is a better movie than the first film, it's at least on par with it. It loses a modicum of suspense because we're already familiar with the scenario and are somewhat prepared for the multitude of shocks. The new script additions aid in making sure the audience will become squirmy in their seats on at least a few occasions. The directors create some unsettling moments by having the monsters remain stationary momentarily before they attack, or appear out of nowhere, hidden in shadow at the end of a hallway.


Where the film trips up is there is virtually no characterization. Owen and Larra are about the only two that get any semblance of a personality. For a film like this where action and horror are the main focal points, the audience is already aware of what's going on, so there really is no need for a large amount of exposition in the first place. At the 40 minute mark, the film slows down momentarily (like 10 minutes) when we are introduced to a group of young interlopers who serve little purpose aside from becoming creature fodder. However, the fate of a couple of these characters is unknown after two of them are locked up inside a room. I presume they will feature in the third film, already being prepared.


At just 79 minutes (84 counting the end credits, it's a few minutes longer than the first movie), fat is one thing this film has very little of. The Spanish directors have fashioned that rare sequel that is equally enjoyable on its own terms and brings some new elements to the table to maintain viewer interest. Some may be disappointed, but I was pleasantly surprised and came away very much entertained by this venture and anxiously await the next installment. The ending of REC 2 hints at something far bigger than what we've seen so far. A really good, frequently scary, tight little horror movie that expands on the mythology started by the ingenious, but superior original.

This review is representative of the Musictronic Entertainment region 0 DVD. It contains Spanish language with optional English and Japanese subtitles.