February 15, 2018
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With the premiere of Marvel’s promising Afrofuturist adventure Black Panther closing in, interest in black superheroism has reached a fever pitch. However, instead of a retrospective on the impact of Blade, a reflection on what went so very wrong with Steel, or a discussion of the hidden charms of M.A.N.T.I.S., I’m going to take a look at 1977’s Abar, the First Black Superman, an offbeat offering in the rare subgenre of blaxploitation science fiction.
Billed as the “first black science fiction film”, Abar is the sole directorial effort by Frank Packard, based on a story written by James Smalley and co-star J. Walter Smith, who portrays Dr. Kinkade, a black scientist who hires ass-kicking activist John Abar (Tobar Mayo) to protect his family from neighborhood bigots. After drinking a superpowered serum concocted by Kinkade, Abar uses his newly developed mental and physical abilities to clean up the hood.
Abar is a tonally strange film, which is both its biggest boon and flaw. The movie’s a lot of fun to watch, even when it struggles to balance the multiple identities that it establishes for itself, which include a fantastical morality tale, a politically charged sermon on the African-American experience, and an action-packed slugfest in the vein of the Jim Kelly vehicle Black Belt Jones. The acting is similarly erratic, with Mayo and Smith carrying the film while the other performances range from unremarkable to cartoonishly exaggerated.
While it probably won’t be lauded for any skillful storytelling or filmmaking, I appreciate Abar for representing an early attempt to tell a bigger, weirder and more inspiring story in the realm of black cinema.
Credit: Paul Kazee