United States - 1987
Director - Beau Bridges
Media Home Entertainment, 1988, VHS
Run Time -1 hour, 29 minutes
And yet, beneath this placid, run of the mill surface is a not so subtle current of transgression just waiting to drag you under. The Wild Pair could have gone the way Hellbound and Cop and ½ eventually did (following precedent), making Benny into a Jim Crow stereotype to compensate for the film’s flaccid storyline. But Benny is not the comic relief to Joe's more serious (and hence we are led to surmise more important and worthy of our identification) quest/project. His physicality, in it's unusualness (to the film) is certainly hard to ignore, and (as with obesity, shortness, boobs etc.) simply must be exploited by the conventions of low comedy (Police Academy) reliant on physical idiosyncrasy for narrative engagement. What humor there is in The Wild Pair (and there aint much) is dependent on Smith's being huge, not on his “acting black" and fulfilling those standards that make white viewers feel safe liking him.
This works because while Jennings is technically on the other side of the tracks, the film is not about his discomfort and the sort of coming to terms for which white audiences need irony and stereotype to feel vindicated. It makes sense then that Benny is the character with depth, history and personality while Jennings is a two dimensional milquetoast (despite Benny’s pointed questioning: “Do you drink your own bath water?” “Sometimes.”) It is after all his neighborhood, his friends and ‘his’ kids who are being subjected to the terrorism of drugs and political violence perpetrated by a racist white conspiracy that goes right to the top levels of government.
Thanks to Ronald Reagan’s little war, drugs and junkies were as necessary to 80’s cinema realism as punk-rockers, but it was his predecessor Richard Nixon who initiated the War on Drugs, clarifying that it was really about black folks, you just couldn’t say it was. At the same time, the CIA really was deliberately introducing narcotics into black neighborhoods to undermine the Black Power movement. (Not surprisingly this was also the same time that the NRA was for gun control; to prevent armed Blacks.) To be sure, there’s a black guy in there peddling drugs in The Wild Pair. It’s easier to dismiss all of this conspiracy stuff if they do it too, but I choose to see his name “Ivory” as somewhat more than accidental. As my friends over at Comeuppance Reviews said in their write-up of The Wild Pair, “it’s all there,” to which I would add; IF you choose to see it. It may appear too convenient to find all this baggage in a forgotten crime dramedy, but after realizing that The Wild Pair has already subverted the staid norms of its genre, its allusions to history appear much more deliberate. The Wild Pair may not be the most original buddy-cop flick out there, but for rocking the narrative boat, it does have the most to say.
As a late entry into the 80’s buddy-cop cycle that was turned up to 11 by one Eddie Murphy, The Wild Pair is yet another white-cop/black-cop combo, but it is also another local-cop/federal-cop pairing. Yet neither of these “ironies” is mined for its humor. Baby-faced Beau Bridges plays FBI agent Joe Jennings with enough suave confidence and pig-headdedness, and Bubba Smith plays short-fused Narc Benny Avalon with sufficient pathos to be convincing, but given that by this late date the context has been standardized, it’s not surprising that their performances are also comfortably standard. Together they foil a criminal endeavor perpetrated by a fairly run-of-the-mill array of semi-inept punks and nominally-sinister kingpins and all ends more-or-less happily. As a result, The Wild Pair is both predictable and unsensationally flat, an otherwise forgettable flare-up of Action’s most chronic case of sub-generic herpes.
And yet, beneath this placid, run of the mill surface is a not so subtle current of transgression just waiting to drag you under. The Wild Pair could have gone the way Hellbound and Cop and ½ eventually did (following precedent), making Benny into a Jim Crow stereotype to compensate for the film’s flaccid storyline. But Benny is not the comic relief to Joe's more serious (and hence we are led to surmise more important and worthy of our identification) quest/project. His physicality, in it's unusualness (to the film) is certainly hard to ignore, and (as with obesity, shortness, boobs etc.) simply must be exploited by the conventions of low comedy (Police Academy) reliant on physical idiosyncrasy for narrative engagement. What humor there is in The Wild Pair (and there aint much) is dependent on Smith's being huge, not on his “acting black" and fulfilling those standards that make white viewers feel safe liking him.
This works because while Jennings is technically on the other side of the tracks, the film is not about his discomfort and the sort of coming to terms for which white audiences need irony and stereotype to feel vindicated. It makes sense then that Benny is the character with depth, history and personality while Jennings is a two dimensional milquetoast (despite Benny’s pointed questioning: “Do you drink your own bath water?” “Sometimes.”) It is after all his neighborhood, his friends and ‘his’ kids who are being subjected to the terrorism of drugs and political violence perpetrated by a racist white conspiracy that goes right to the top levels of government.
Ethnic Notions
Ethnic Notions doesn’t stray from that line, rather it confronts the manufactured image of Blackness as perceived or more precisely imagined, by white culture full force. The film begins with an explanation of the development of Black stereotypes; the Mammy, Sambo, Coon, Pickaninny and Uncle Tom, which have been promoted and used since the advent of American slavery to the American Civil War, into modern pop culture.
An interesting problem that the film and the persons interviewed, both black and white, convey, is the idea of contradiction. The best way I can describe this is that in order to move beyond basic subservience, Black Americans have had to reinforce the very stereotypes which reduce them to a state of subject, and servitude. Throughout the film, from the original minstrel character of 
From beginning to end, the persistent racist iconography of United States media of all types are laid bare…for a very few interested people. It is no surprise that this film was already lost by the time it was made, it’s too alive, too cutting to be allowed.