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Title : Black Chariot (1971)
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Black Chariot (1971)

           An intriguing artifact from the same Black-power zeitgeist that produced Uptight (1968), Sweet Sweetback’s Baadasssss Song (1971), and The Spook Who Sat by the Door (1973), Robert L. Goodwin’s indie drama Black Chariot had a miniscule theatrical run in 1971, then disappeared until its recent rediscovery and restoration. Watching Black Chariot today, it’s evident why the movie failed to get more traction in 1971 because amateurish production values and scattershot scripting obscure the film’s sober meditation on provocative issues. In his first leading role, charismatic athlete-turned-actor Bernie Casey has more presence than skill, and it’s frustrating to realize that a polished version of Black Chariot could have featured an indelible performance by Casey as self-described “street brother” who develops a social conscience. As goes Casey’s portrayal, so goes the film—Black Chariot is full of weighty ideas, but Goodwin lacks the artistry and resources needed to realize his vision.

          Janky production values notwithstanding, the picture gets off to a strong start with a tense meeting between several members of an unnamed Black Power organization. Because the police killing of a group member was triggered by another member spilling secrets to cops, organization leader Plaz (Richard Elkins) calls a vote on whether the traitor should be executed. The only “no” is from Tuck (Casey). After the meeting, Tuck tracks down the turncoat, Brack (Robert L. Goodwin Jr.), to warn the man he’s in danger. Too frightened to listen to reason, Brack shoots his would-be savior. Then a local youth helps the wounded Tuck stagger to the home of Tuck’s devoutly religious mother, Sara (Paulene Myers), and the organization kidnaps a white doctor (Gene Dynarski) to treat their injured friend. Cue flashbacks depicting how Tuck joined the organization. The flashbacks also show his fraught romance with strident organization member Silvia (Barbara O. Jones), and his friendship with Dooley (Michael Warren), the young man whose death started the dramatic wheels spinning.

          There’s so much to admire in Black Chariot that it’s a shame Goodwin didn’t entrust his script to a producer with story sense and a director with visual flair. As executed by Goodwin, Black Chariot lacks important beats and lingers on peripheral moments. In fact, the best-written scene is a tangential conversation between Sara and the doctor while Tuck suffers in the next room. As Sara ponders how her son went astray, the doctor reveals that he loves Black music and supports the NAACP—it’s illuminating to watch these characters talk past each other. Alas, more typical of Black Chariot are confounding decisions that diminish the experience, for instance when the movie drowns a lengthy getting-to-know-you scene featuring Silvia and Tuck in drab music. Aesthetically, the picture is a mixed bag, with some scenes shot on 35mm and others on low-resolution video. Pictorial consistency would have helped.

          Nonetheless, Black Chariot is a valuable record of its moment. When Plaz says, “No brother is more important than the organization,” he advocates groupthink disguised as idealism, and when Tuck seeks mercy for Brack, he expresses the idea that Black-on-Black violence is never the answer. Black Chariot also gets into dilettante activism by revealing that Silvia lives well thanks to the patronage of her wealthy father, and religious hypocrisy when one of Sara’s Bible-study friends slides over to Sara’s apartment because she lusts after Tuck. Anyone whose interest in ’70s urban cinema begins and ends with blaxploitation flicks may find Black Chariot dull, but those genuinely curious about where people’s heads were at circa 1971 will find much worth contemplating here despite the sloppy filmmaking.

          FYI, Black Chariot is presently on a small theatrical roadshow thanks to Kino Lorber, with playdates throughout July 2026. For information, click HERE.
 
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