Every few years, a movie comes along that captures the zeitgeist so perfectly that it becomes an artifact of social history all of itself. Only once in a generation, however, does a movie set the zeitgeist for a section of society, revealing what the spirit of the age has been all along.
"What White Women Want" is- you'd better believe it- just such a movie. The section of society it addresses is, of course, white women. It's call to arms? To embrace, publicize, celebrate and enjoy their smouldering lust for powerful, sexually dominant black men.
The modern, professional white women, it tells us, needs to think a lot less with her head or her heart- and a lot more with her pussy. The three women to whom "What White Women Want" (hereon "WWWW") introduces us are all women who "have it all" within the excepted parameters of their generations. Sophia is a high-powered banking executive in her forties, with two gifted ch1ldr3n and a husband who has quit a career in finance to raise them at home. Sarah is a thirty-something junior doctor who is pondering an anticipated proposal of marriage from her academic boyfriend. The implausibly beautiful Lucy has just qualified as a lawyer in a prestigious firm, and splits her time between fighting it out in the courtroom and fighting off the attentions of legions of smitten male colleagues. These women- and, WWWW bravely implies, all white women- are further united by a numbing indifference to the white men in their lives, and a yearning for a virile black man to sweep them off their feet.
In WWWW, one such virile black man does for all three. Huge, muscle-bound, tattooed and crude, Jamal is everything that- deep down- bored white women desire and society (read: terrified white men) tells them they can't have. Our first experience of Jamal's irrepressible masculine sexuality comes when Lucy, assigned to him in a criminal case, visits him at his "crib". Chewing her lip nervously and rifling through her papers with trembling hands, Lucy is made to wait on Jamal's couch. One of Jamal's "white bitches" sits beside her, proudly breastfeeding her mixed-race baby, while the sounds of earth-shattering sex between Jamal and another white woman are heard from upstairs. The tone for the rest of the movie is set brilliantly: black male and white female sexuality are powerful f0rces that are irresistibly attracted to one another, regardless of social rules or controls. Sexual fulfillment for white women, and happiness for society in general, will only come when those f0rces are unleashed upon one another. We need to let ourselves go.
And unleashed they are. This reviewer does not wish to spoil any steamy surprises, but it suffices to report that Jamal's seduction of Lucy, Sarah and Sophia comes via some of the most breathtakingly erotic (and explicit) scenes yet seen in mainstream cinema. Sex is, inevitably, the central contract between the characters, and the camera does not shy away. It is commendable, and essential to the message of the movie, that Jamal's magnificent nude body takes center stage. All of it. Yes, ALL of it. The women of the audience are guaranteed to be very, very satisfied in that respect. Hugely satisfied. Enormously satisfied. But the sight of Jamal's mouth-watering muscles and his eye-widening black genitalia are a brilliant short-hand in establishing just why our three heroines are compelled to welcome him between their legs, and into their perfect but stale lives. This is a movie that is destined to be beloved bed-time viewing for women everywhere for generations.
It may be asked whether or not WWWW is really a feminist movie. We see three women, who each represent a feminist ideal of one type or another, essentially dropping it all in order to submit sexually to one hyper-masculine and somewhat misogynistic black man. None of our heroines express any discontent with Jamal's seemingly vast harem of other willing white women, and each is willing to play a supporting role in gratifying her exciting black lover. We see the women eagerly sharing a bed with Jamal and one-another, and enthusiastically "performing" together while Jamal watches impassively, smoking a cigar. But this misses the point. WWWW is about dauntlessly telling the truth, not about ideology. The white women in the movie certainly find further empowerment over the white men in their lives, who are faced with a choice between acquiescence or redundancy, but this is a mere side-effect of the thrilling sexual adventure and fulfillment that each of them experience with their "hung black stud".
And that is WWWW's message to white women in a nutshell: get what you want, not what you're supposed to want. And what you want- what all white women want- is a hard, muscular black chest pressed against their breasts, and a huge black cock deep inside them. While their husbands take the kids to sculpture class.
Who could argue with that?
5/5
Sophia - poster 1
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Sarah - poster 2
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Lucy - poster 3
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