(RETROSPECTIVE) "Killer of Sheep" and "Bless Their Little Hearts" (10/10)

[Jon Lap]

“A Reversion To Innocence As Seen In Killer of Sheep, and Bless Their Little Hearts”

Upon viewing KILLER OF SHEEP (directed by Charles Burnett), and Billy Woodberry’s BLESS THEIR LITTLE HEARTS, the first word to enter my thinking was muse -- because of the films’ ability to make one reflect at great length and simultaneously serve as a source of inspiration. Burnett’s, and Woodberry’s sure hand makes these troubling, downbeat stories compelling, and real -- offering the viewer a purely unfiltered, socially mimetic look at lower class life in Los Angeles. But the real sparkle of both films is the constant questions put forth to the viewers: isn’t it time to shed the proverbial sheepskin, and claim your power as a black man, or woman.

The opening sequence of KILLER OF SHEEP, sets up a dichotomy of adult isolation and childhood unity. We see the central character alone at the trainyard, juxtaposed with several young boys and girls bunched up together at the same yard (or a similar area). Furthermore, converse physical actions and gestures are noted where the adult man sighs and huffs, the children giggle and chase each other innocently. Most striking, is that both scenes conclude with rock throwing, marking the similarity (of release) for both sides. BLESS THEIR LITTLE HEARTS begins with a similar thesis, as Charlie Banks is pitted against a sterile, unfriendly employment center --frustrated and ready to relinquish hope for the status of being employed. As beautiful, pensive music accompanies the visuals of both films, we are poetically struck by an inception of theme found in both film’s... that innocence is ineluctably impeded by the stark realities of adulthood (a destitute and impecunious one).

This notion surfaces higher in the second sequence of KILLER OF SHEEP, when burglars are caught in the act, and take off running. These thieves are teenagers, representing the middle ground of this process of going from innocence to painful reality. Essentially, we get a close view of the age where the shift has already begun uncontrollably -- connoted visually by the water hose which spouts furiously as the teens escape, and curse at the old man. (The vulgarity toward the old man could even be brought on by the subconscious fear of reaching that stage). The introduction of this theme concludes with a tracking shot of the neighborhood (as we hear, “where can my little baby be”); the little girl wearing a mask; shots of run down buildings (accompanied by the sounds of the little girl singing the nursery rhyme “this old man…”). She is framed claustrophobic, sitting in the bathroom as if she is in a wedge. How brilliant is that? Extremely! Both filmmakers here, give us this important theme with the smoothness of playing violin -- each note expressed to perfection, with assured ease -- it’s almost eerie.

Leading directly to the ensuing question, are the lyrics, “what is America,” as we see a spinning-top, and the little girl working diligently on top of the fence. Burnett wants to know... what is America?... spinning out of control, or too complacently preoccupied with work? Even more, what does America mean for the black man, and family today (circa 1977). Juxtaposed, is a tight shot of sheep, trapped by the limitations their fence imposes. The lyrics “All my friends..” are heard, and immediately we know Burnett is likening much of the black community to sheep-followers; ignorant in their ways.

Burnett offers us an unfiltered look at the violence that becomes the only source of outlet, and expression for these particular people. The protagonist’s wife says to his friend, “why you always wanna hurt somebody?” All perspicacious viewers begin to understand the answer to her question, as his retort is as humorous as it is sobering... “man has fist, just like animals have teeth. It’s Human nature.” Exceptionally revealing about the exchange, is the use of ‘human nature.’ The friend does not say ‘it’s the black way’, or ‘it’s the male way.’ He classifies violence as a trait inherent in all living creatures. Burnett attempts to counter this provincial view, catalytic of lynchings, and riots, with the idea that a real man is one who uses his brains. Skewing the Hollywood convention of a diagetical narrative, Burnett conveys the violence in the film by capturing it visually (a man punching a bush; the bandages wrapped around the wounds of another friend’S head).

Both film’s illustrate that if a lack of job opportunity and upward social mobility does not release itself through violence, then it changes its form to hostile insecurity. In BLESS THEIR LITTLE HEARTS, we witness both parents verbally abuse the children over issues that are tender for them. Charlie forces his son to cut his fingernails, calling him a girl... the result of Charlie’s own emasculation (brought on by being jobless). Other subtle signs of detachment through hostility begin to show themselves: Charlie tightens the sink knobs so tight that his daughter is unable to pry them loose to run water; we see that her arm is broke, in a cast; the non-sexual relationship of the two, coupled with Charlie’s polygynous ways. The breaking point explodes on to the family’s scene, with the ultimate in social mimesis, when Charlie and his wife argue and fight extensively -- over issues of manliness and infidelity vs. the woman’s all purpose role in the family. All this social reality is underpinned by wonderfully expressive shot choices, such as houses on a slant (in …SHEEP); sterile brick buildings, and landscapes (in …HEARTS).

As the film’s unfold episodically, we take the sights of the streets with us as if we just rode our bicycle through the neighborhood -- picking up bits and pieces of everyday life. Some final scenes which contribute to the gradual process from innocence to the loss of innocence: we see the son ask his parents for money in which he is denied; the children witness a strange woman coming on to their father in his truck... as he drives away, the engine he bought pops out of the back -- a strong connotation that a powerful shift is upcoming (mainly for the children) who are represented by the deadened engine.

As KILLER OF SHEEP comes to a close, the shared theme of both films translates well. The husband and his wife slow dance to the lyrics, “this bitter earth / Too soon you’re old / what good is love that no one shares / someone may answer my call / bitter earth may not be so bitter after all.” Before Burnett leaves us with the absolute closing visual, he is letting us know that times are tough, but hope is potential. This sequence acts as a harbinger for the last shot, where the central character deals with shaven sheep. We see a medium close-up of him, and hear the evocative tones of Dinah Washington-which comes across more as an ebullition: “Pleeeease, won’t you think that... (beat) I am... (beat) Unn-forgetabuuul, too.” In the end, the main character of SHEEP; Charlie Banks; (and all other jobless, ineffectual men) are asking to be considered special, and unforgettable-just like they were as innocent children.

[This message has been edited by Jon Lap (edited 08-12-2001).]