Film: Killer of Sheep
Director: Charles Burnett
Country: USA
Released: November 1978
Runtime: 80 minutes
Genre: Neorealism
Studio: Mypheduh Films / Third World Newsreel
Influenced: Spike Lee, John Singleton, Julie Dash, Mos Def, Barry Jenkins, Ryan Coogler
Charles Burnett, a student at the UCLA School of Theatre, Film & Television, conceived the idea for Killer of Sheep while studying there. His aim was to create a film that reflected the lives of African-Americans in urban communities, particularly the working class, in a cinematic style inspired by Italian neorealism and the films of Jean Renoir. Shot in the early 1970s but not released until several years later, the film is set in the Watts neighbourhood of Los Angeles and depict the lives of ordinary people living there through a series of fragmented vignettes. Rereleased in 2007 in a restored version by Milestone Films, Killer of Sheep is now widely acclaimed for its raw, authentic and surreal depiction of everyday struggles, as well as its social commentary and innovative filmmaking techniques.
As far as there is any discernible plot, the film's narrative follows the story of Stan, a slaughterhouse worker in Watts (hence the movie's title), as he struggles to find meaning and connection in his monotonous and emotionally draining life. We also see youngsters playing in the rail yard throwing stones at trains and young adults stealing a TV, giving a general sense of general desperation and misdirected energy. Stan's daily routine is characterised by his job, interactions with his family and encounters with various members of his community, through whom we're offered little glimpses into the lives of different characters and their own struggles with poverty, alienation and despair.
Killer of Sheep's opening scene in the slaughterhouse establishes the film's tone, with the image of the dying animal setting the stage for the film's exploration of life's hardships and the human condition. Stan's interactions with his wife, children and neighbours provide further insight into the challenges they face, such as financial difficulties, domestic tensions and the impact of violence. In one scene, Stan’s wife argues with two of his friends about using their head and not their fists. A pivotal moment occurs in the film when Stan's daughter, Angela, is almost hit by a car, highlighting the constant threat of danger in their neighbourhood and the desire for safety. The film concludes with Stan's decision to steal car parts, representing a moment of rebellion and desperation in the face of his unfulfilling existence.
There are moments of lightness and beauty too, such as the lovely and moving scene of Stan and his wife dancing to the sound of This Bitter Earth by Dinah Washington. Burnett also uses music in the film for ironic effect, such as Paul Robeson’s The House I Live In; when the lyrics talk of democracy, community and children playing, the visuals tell a different story of neglect and abandonment. Securing the rights to all the incredible music used in the film, from Louis Armstrong to Earth, Wind & Fire, took a long time and held up Killer of Sheep's general release for three decades. The film is now celebrated as a seminal work of African-American cinema, while Burnett's use of black & white cinematography and non-professional actors, as well as his blending of documentary-like realism with poetic visuals, also puts the film firmly in the neorealist tradition.
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