It's actually a pretty straightforward film, albeit one filled with eccentric choices: quirky Tarantino-esque monologues delivered in formal period speech; slow, rambling scenes punctuated with extreme gore; antagonists that could be read
as racist caricatures, except the movie bends over backward to assure you they're not; and, to cap it all off, an operatic theme song that lays out the plot, Gilligan's Island - style.
Not exact matches
In Lee's Bamboozled, he's invoked (alongside many other silent and early - sound - era performers)
as a grotesque specter of
racist Hollywood representation — the ghost of minstrelsy past — but writers like Mel Watkins and Champ Clark have complicated the issue by suggesting that there was an element of subversion in Perry's subservience — that the shiftless, feckless
caricature he inhabited in so many movies was not a capitulation to the viewership (or the filmmakers) but a bold form of ethnic masquerade.
Rockwell
as Dixon, Willoughby's deputy who is a
racist, a homophobe, an ignoramus, and a cop who lives with his domineering mother, is almost a
caricature, surviving it only because of Rockwell's astonishing performance.
President Lyndon Johnson (Tom Wilkinson) is given predictably surface - level treatment
as a self - serving suit, while Alabama governor George Wallace (Tim Roth) is little more than a
caricature of a
racist.
As a Mexican myself, I quite enjoyed Guacamelee and I never perceived the
caricatures of the characters or jokes said to be
racist at all, or offending for that matter.