Dark of the Sun: Mercenaries with Mixed Motives

Rod Taylor as a mercenary.

This 1968 Rod Taylor action picture can count Martin Scorsese and Quentin Tarantino among its admirers. That's pretty good for what Variety described at the time as "a raw adventure yarn with some glib philosophizing."

Taylor plays Curry, a mercenary who has accepted $50,000 to rescue some people--and $50 million in diamonds--from a town in northern Congo that's under threat of an attack from the rebel Simbas. Curry and his Congo-born crony, Ruffo (Jim Brown), must complete their mission in three days. They recruit 40 Congolese soldiers, an alcoholic doctor (Kenneth More), and an ex-Nazi German officer named Heinlein (Peter Carsten).

Jim Brown as Ruffo.

Their journey, via an old steam train, is fraught with perils from the outset. The cavalcade is attacked by a United Nations peacekeeping plane. Curry and Heinlein, who dislike each other immensely, almost fight to the death. And Curry and Ruffo's "secret" mission seems to be common knowledge to everyone they meet. Worst of all, though, they arrive at their destination three hours early and have to wait until a safe's timelock opens so they can get the diamonds. Meanwhile, an army of ruthless Simbas are fast approaching the town.

Yvette Mimieux has a small role, reteaming
her with her Time Machine co-star.

This last plot point turns into an action-packed sequence in which Ruffo and Heinlein hold off the enemy as Curry boards the train at the last second with the diamonds. Unfortunately, their escape is short-lived when an explosion disconnects the caboose from the rest of the train, sending the train car --along with its screaming passengers and the precious stones--backwards into the hands of the enemy. In the film's most harrowing scene, Curry and Ruffo return to the captured town to retrieve the diamonds. Ruffo, posing as a Simba, carries Curry like a trophy on his back as they navigate through burning streets where innocent people are being tortured and killed.

This scene, plus a brutal fight at the climax, has earned Dark of the Sun a reputation as a grim, violent film. To be sure, the atrocities, which are implied more than they are shown, are not for squeamish viewers. There was no rating system when the film was released, but it was subsequently given a PG rating in 1973 (there was no PG-13 at the time). Director Jack Cardiff cut several gruesome scenes in order to secure the film's release.

Cardiff is best known as one of the greatest cinematographers in the history of cinema, having photographed Black Narcissus (1947), The Red Shoes (1948), and The African Queen (1951). He only directed 13 feature films, including two 1960s adventures with Rod Taylor: Dark of the Sun and the tongue-in-cheek The Liquidator (1965). Surprisingly, there's nothing visually striking about Dark of the Sun, although Cardiff makes one believe the film takes place in Africa (in reality, the locations were the Caribbeans and a British studio). He also handles the impressive action scenes with aplomb.

Curry and Ruffo discuss what makes them tick.

Still, it's that "glib philosophizing" that separates Dark of the Sun from other action films of the same period. In between the fight scenes, Curry and Ruffo debate their motives for what they do. At the outset, Curry makes it clear that he's a "paid man doing a dirty job" whereas Ruffo wants to maintain the freedoms his country has only recently earned. Driven by his friendship with Ruffo, Curry evolves as the film progresses--as evidenced by his decision to ultimately pay for his crimes. And yet, one can't help but think that Curry doesn't regret his violent actions...that he is still a mercenary at heart. Perhaps, it's his desire to reflect his friend's honor that drives his moral actions.

Dark of the Sun provides Jim Brown with one of his best roles as Ruffo. The former football great was typically typecast as macho men of action (e.g., Ice Station Zebra, Slaughter). But he brings sensitivity and intelligence to Ruffo, while still looking comfortable with an automatic weapon in his hand. He also gets to deliver the film's best-known line of dialogue, stating that he came from a tribe that believed: "If you eat the heart and brain of your enemy, his strength and wisdom will be added to your own."

Surprisingly, that sums up Dark of the Sun pretty well: It's a violent adventure film with more heart and a little more intelligence than you might expect.

This review is part of Rod Taylor Week at the Cafe, our week-long tribute to the Australian actor. Click here to read more reviews of his films.

Blaxploitation Films: An Overview of the African American Urban Action Genre of the 1970s

Richard Roundtree as Shaft.

The term “Blaxploitation" was coined in the early 1970s to describe a genre of low-budget, action pictures that featured mostly American African actors and typically played in urban neighborhood theaters.  Some critics considered these movies offensive, charging that their African Americans protagonists were poorly-developed stereotypes. Indeed, Blaxplotation "heroes" were often private eyes, gangsters, and drug dealers that were violent, sexually insatiable, and defiant of authority. Those traits were certainly nothing new in 1970s cinema--Dirty Harry's Inspector Callahan was more violent than the private eye hero in Shaft and James Bond was more promiscuous. What made Shaft unique was that its protagonist was a black man and--at a time when the only African American movie star was Sidney Poitier--that was a game-changer.

The mainstream success of Blaxploitation pictures like Cotton Comes to Harlem (1970) and Shaft (1971) spawned dozens of urban action films from 1971 to 1976. Richard Roundtree, who exuded cool as John Shaft in three films, became the genre's first star, but others quickly followed: former football player Fred Williamson; feisty Pam Grier; and, to a lesser degree, Tamara Dobson (Cleopatra Jones), karate champion Jim Kelly (Black Belt Jones), and Bernie Casey (Hit Man).

The majority of Blaxploitation films were aimed to simply entertain. They were, after all, "exploitation films," defined in The Film Encyclopedia as movies "made with little or no attention to quality or artistic merit but with an eye to a quick profit, usually via high-pressure sales and promotion techniques emphasizing some sensational aspect of the product." Still, the Blaxploitation genre made a lasting impact on the film industry by spotlighting African American actors, indirectly promoting female empowerment, and producing memorable film soundtracks.  

Williamson in Black Caesar.

Actors like Richard Pryor, Godfrey Cambridge, and William Marshall had established solid credentials in the entertainment industry well before the start of Blaxploitation films. However, their careers got a substantial boost when they landed starring roles in The Mack (Pryor), Cotton Comes to Harlem (Cambridge), and Blacula (Marshall). Jim Brown was already a leading man, but the box office hits Slaughter, Black Gunn, and Three the Hard Way made him a bona fide genre superstar. And, as mentioned earlier, the Blaxploitation genre created its own stars in Richard Roundtree, Fred Williamson, Bernie Casey, and Pam Grier--all of whom went on to long careers in film and television.

Pam Grier as Foxy Brown.

Quentin Tarantino has suggested that Pam Grier was Hollywood's first female action star. It's hard to disagree, given her body of work in action films like Coffy, Foxy Brown, and Friday Foster. Combining toughness, sexuality, and female empowerment, Grier dominated the male characters in her films. Even when she became their victim briefly, as in Foxy Brown, she retaliated with a vengeance.

When The Washington Times compiled a list of the Top 10 Female Action Stars earlier this year, Pam Grier ranked #9. Except for Linda Hamilton in Terminator (1991) and Sigourney Weaver in Alien (1979), every other actress listed is from a film made in 2001 or later. Thus, Grier was breaking ground for female action stars that wouldn't be plowed for two more decades--an impressive achievement.

Blaxploitation films also broke ground with urban soundtracks composed by well-known musicians such as Isaac Hayes, Curtis Mayfield, and James Brown. Hayes scored a No. 1 Billboard hit with "Theme from Shaft," which also earned an Academy Award for Best Song. His Shaft soundtrack was so popular that Hayes was cast in the lead role in his own Blaxploitation film, Truck Turner (he also composed its soundtrack). Still, music critics generally regard Curtis Mayfield's Superfly soundtrack as the best for a Blaxploitation film. In fact, the success of Mayfield's No. 4 single, "Freddie's Dead"--which was released before Superfly--may have contributed to the film's success. James Brown's soundtrack for Black Caesar is considered one of his strongest albums.

William Marshall in Blacula.

Speaking of Black Caesar, it's one of several Blaxploitation films with interesting origins. Writer-director Larry Cohen (It's Alive) based Black Caesar  loosely on the 1931 gangster film Little Caesar. The 1972 film Hit Man was a remake of the Michael Caine thriller Get Carter. Black Mama, White Mama appears to be a loose remake of The Defiant Ones. The mainstream success of Blacula (which featured a fine lead performance from William Marshall) spawned other horror films: Blackenstein; Dr. Black, Mr. Hyde; Sugar Hill (about zombies); and the sequel Scream, Blacula, Scream.

This month, the Classic Film & TV Cafe pays homage to the Blaxploitation films--the African American urban action films of the 1970s. Yes, they were violent exploitation films and lasted for just a few years. Yet, they remain an important part of American cinema history and warrant a closer look.