Film Analysis: The Good, The Bad, And The Ugly

poster typically has the white cowboy large, presented front and center, with the antagonists and co-stars all behind him. An iconic western, The Good, The Bad, and the Ugly, has a poster picturing the white cowboy alone. Clint Eastwood stands there tall, stoic, and singular. Typical of most other westerns, the white cowboy is the center of attention. Here, however, there are two non-white figures presented: Bart, the Black cowboy, and a large Native American chief. This movie poster has the same style as other westerns with the color and layout, but is unique in the fact that a black man is presented where a white man would normally be dominating. Once again, this makes a statement about racial improvements. Previously having a black man at

the center would have been unheard of, but it was now 1974 and the nation was on the cusp of a cultural revolution. With all of the advancements being made legally, it is easy to consider that Brooks believes it is time for film culture to catch up. Brooks is possibly not only looking towards the future of the nation with positivity, but also the film industry as well. Boldly putting a minority as the figurehead of the film, where a white man had been for decades, Brooks seems to have claimed an important black-advocating stance on racial relations. The poster sets the tone for the entire film.
Some critics and pessimists believe that Brooks’ film was nothing more than a satirical comedy and that the racial statements he made in the film were not reflective of his own thinking, but were rather just vehicles to make the viewer laugh. Brooks openly stated, years after the release of the film, “I envisioned a race riot. I thought everybody would come after me and kill me for what I said about the Chinese, the Blacks, and the Jews.” With that said, however, he also notes that the film was written with heavy influence from African-American co-writer Richard Pryor. So these critics say that director Mel Brooks did not heavily stand behind what the movie says beyond the comedic foreground. They declare that it was satire alone, not a commentary on social and racial progress. What these critics don’t realize, however, is the presence of co-writer Richard Pryor. Were Brooks to make a movie, clearly for comedic value, not caring about racial implications or political correctness, he would have done so without the assistance of Pryor. Richard Pryor had a heavy influence over the film’s script, specifically in cases where racial slurs were used. Brooks took Pryor’s advice, and worked so closely with him, possibly because he did not want the film to be dismissed or viewed as meaningless. While Brooks has never directly commented on race relations at the time, or as to the symbolism of his movie, the instances in which it arises are clearly more than coincidental.
A major step in moving forwards towards racial equality is breaking the general mindset of tradition and previous experiences, for both the townspeople of Rock Ridge, and the nation. In general, people are more comfortable with what they are used to. This explains why the town reacts as it does to the arrival of Bart. At Bart’s arrival in Rock Ridge, a welcoming committee is set up with a band, a banner, and seemingly all of the townsfolk. Just as Bart rides in on his horse, the entire town makes the realization of Bart’s race and stops in awe. The man reading the welcoming speech takes an extra few seconds to make the realization, but follows suit as the entire town is shocked by the town’s new “nigger.” Obviously their reaction has deep rooted opinions of racism, but there is also a sense of tradition and what the town is used to. The arrival of a black man alone would not warrant anywhere near this reaction. It is more shocking that he is here to take arguably the most praised role in town. Rock Ridge has never had a sheriff that didn’t fit their typical strong white man stereotype. Even weeks later, after Bart has done well protecting the town, they still try and hide their opinions. When an elderly woman drops off a pie to Bart to thank him, she makes it clear that she doesn’t want anyone to know that the pie came from her. She is so affected by peer pressure from the town over acceptable social roles, that she feels deeply guilty about feeling as she does. This action, however, speaks to the necessary changes that must be made for progress. If the oldest woman in the town, the one most deep rooted in the past and tradition, can recognize the content of Bart’s character beyond the color of his skin, then the whole town should be able to as well. The statement is being made here that in order for forward progress to be made, we need to forget historical misbeliefs, and instead start over cognitively – and that all begins with the oldest generation. Keeping with the tone of optimism, however, it is clear that strides are being made. Sure, the townsfolk are not openly lining up at Bart’s door to hug him, but racism cannot be terminated overnight. The fact that any progress is made makes one look positively upon the future. By displaying this small success, Brooks is perhaps showing what one small act may lead to. First it is a pie, then perhaps it becomes less objectionable to speak with Bart in public. This small, but significant act, relates to the real race relations, demonstrating that there may be a domino effect. All it takes is one tip, one pie, and then others will fall.
By breaking away from film norms and predictable occurrences, Blazing Saddles is able to look forward at a future much different from the past.

As Bill Hug remarks in his writing on the film, “Conventions governing the ethnicity or race of western heroes and villains are bluntly contradicted. Racist Whites become the bad guys; Blacks, an ethnic group not seen before in westerns before the 1960s, are now their victims.” By breaking this traditional view, Brooks is effectively setting an example for the brighter future that he sees. Rather than going along with typical and expected roles, he switches them, creating what we can interpret as the diverse, optimistic, future of film. Hug also makes the conclusion that no other genre would have served this role better, seeing as the western represents Anglo-American supremacy. Taking a classically white dominated genre and twisting it to include an otherwise overlooked subset of the population (in terms of film at least), Brooks adequately sets his film apart. This setting apart gets viewers’ attention and forces them to think on the changing social dynamic around

them.
Overall, the seemingly satirical Blazing Saddles, contains a lot more than meets the eye.

Between the witty jokes and racist undertones, there is a seemingly strong view and criticism of American racial relations. As evidenced through the film’s plot, climax, poster, and characterization, one can deduce that director Mel Brooks meant for the viewer to take more away from the film than just a sore stomach from laughing. The film can instead be viewed as a commentary on racial relations. It continually looks back and jokes at previous, unequal conditions, but more importantly looks forward optimistically at the future. Breaking the typical cowboy trope, and even the overall western formula, Bart set an example for the future. The question remains, however, as to what does the film suggest we do to move forward? It can be viewed as seeing an optimistic future, but how do we get there? Additionally, if we interpret this film as being more than meets the eye, then what about Mel Brooks’ other films? Do the films History of the World: Part I, Robin Hood: Men in Tights, or even Spaceballs have some deeper social commentary within them? One thing is for sure, Mel Brooks is the funniest racial equality advocate I have ever

encountered.