UNDERCOVER BROTHER (2002)  ***

Reviewed 5/31/02

Blaxploitation spoof UNDERCOVER BROTHER opens with a montage of 1960s and 70s black power (Martin Luther King, Jr. and Shaft) giving way to 1980s and 90s black media crassness (Mr. T and Urkel).  In a movie that takes nothing else seriously, certainly not character or plot, it is a clever method of underlining the movie’s thematic premise – the corruption and dilution of empowering black imagery by a media largely controlled by whites.

Of course, black media representation is much less the result of deliberately malicious action by powerful white people than the unquestioned demands of market forces to present culture in neat, simple, safe packages for lowest denominator consumption.  The movie does its own simplifying by blaming it all on The Man, a James Bond-like supervillain whose face is always shrouded in shadow.  Offended by the widespread popularity of black culture, The Man turns to right hand, Mr. Feather (Chris Kattan), to sabotage the imminent Presidential run of General Boutwell (Billy Dee Williams).  “He’s so well-spoken,” newscasters say about the General without a hint of awareness (in a reference to Colin Powell).  After succumbing to Mr. Feather’s mind-controlling drug, Boutwell announces not that he is running for President but opening a chain of fried chicken restaurants, GFC – General’s Fried Chicken.

The secret organization known as The Brotherhood (think an African American Control from the “Get Smart” tv series) sniffs out foul play.  The characters are such ciphers of theme, they don’t even have real names, instead carrying monikers describing their functional roles or attributes.  The Brotherhood is made up of The Chief (Chi McBride), Sistah Girl (Aunjanue Ellis), Smart Brother (Gary Anthony Williams), and Conspiracy Brother (David Chappelle).  The name-exception is white affirmative action hire, Lance (the former Doogie Howser, Neil Patrick Harris).  The Brotherhood hires do-good bandit Undercover Brother (Eddie Griffin) to get to the bottom of things.  Sporting a giant afro and a medallion engraved with a “fight the power” fist, Undercover Brother launches into kung fu action screeching a high-pitched “Shaka Khan!”  Sistah Girl provides a different perspective, calling him, “a Soul Train reject with a Robin Hood complex.”  Certainly a lot of the humor stems from Griffin’s willingness to make fun of the character.  All goes according to plan until Mr. Feather sends in “the black man’s kryptonite,” White She-Devil (voluptuous Denise Richards), to seduce Undercover Brother and turn him into a Theo Huxtable who shops at Khaki Republic, dances the Macarena, and uses the phrase, “Gosh darn.”

UNDERCOVER BROTHER touches on (explores would be too ambitious a label) issues such as white appropriation of black culture and how blacks themselves defame their own culture.  The former appears in jokes about the attitudinous “Wassup!” and dance moves (but the movie also consciously notes black appropriation of Bruce Lee).   The latter is made fun of by demonstrating the silliness of wallowing in ghettoization (Billy Dee William’s GFC riff references his endorsements of Colt 45) or straining to be “white” (“The Cosby Show” takes a few knocks).  The movie is not terribly provocative, but it has more subtle pokes and jabs – a politically-loaded country club golf course setting and the characters ease in slipping by white security guards while posing as janitors.  UNDERCOVER BROTHER is also not very original, but as obvious as some jokes are, most are hilarious.  The movie is not only funnier than last year’s POOTIE TANG, but also more coherent and cohesive.  UNDERCOVER BROTHER’s source as an internet cartoon is less obvious than POOTIE’s was as sketch comedy.

UNDERCOVER BROTHER makes good use of its soundtrack.  Two of the best jokes come from the movie’s use of “Ebony and Ivory” and the climatic showdown scored to Michael Jackson’s “Beat It.”  Especially outstanding among the cast are David Chappelle and Chris Kattan.   Chappelle comes off as a motor-mouth, but he is actually funny as opposed to Chris Tucker-annoying.  And no comedian today displays the schizophrenic physicality of Chris Kattan, who here does a fine Dr. Strangelove impersonation as the “black man” inside him tries to get out.