Blankman: Revisiting the Superhero Parody Movie 30 Years Later

As a child of the ’90s who grew up watching Saturday Night Live skits and eagerly awaiting the latest Wayne’s World episode, Blankman holds a special place in my heart. While I can appreciate the movie’s flaws – the storyline is wobbly, the costumes are questionable, and the humor veers between juvenile and clever – it still manages to tickle my funny bone.

I’ve been an ardent admirer of In Living Color (1990) since its debut, appreciating the wit of its creators and keeping tabs on their subsequent film careers. When I learned about a movie featuring David Alan Grier and Damon Wayans that seemed to draw inspiration from his Handi-Man character, I was immediately intrigued. However, while having some elements of a good thing isn’t always a guarantee of success. In the case of 1994’s Blankman, it seems that the charm of my youth might be the best place for this “comedy classic” to remain.

Could we imagine a bungling superhero as a tribute to Batman ’66, a series that sparked Damon’s childhood dreams, with shows like the old Adam West Batman and Green Hornet (1966) igniting his imagination? Blankman pays homage to the show, featuring stylish logo transitions, intricate death traps, dialog reminiscent of the era, and familiar onomatopoeia (“pow,” “smack,” “splat,” “crash,” and lots of “Aghhhhhhhh!”). While it honors Batman ’66, it attempts to infuse a more adult-oriented flavor (notice his gadgets or the way he points at things), portraying Bruce Wayne if he were less affluent and living in an urban area.

“Slap me around and call me Susan.”

“You’ll believe a man can fly” when you hear the sound he makes after getting slapped.

Darryl Wayans and Kevin Grier Walker are two brothers living under the same roof, despite leading vastly different lives. While Kevin holds down a job, has girlfriends on the side, and occasionally tries to keep his secret rendezvous hidden from their wise-cracking grandmother, Eleanor Walker (Lynne Thigpen), Darryl is less settled in life, struggling at his job as an appliance repairman. He’s also rather awkward and clumsy.

The fundamental plot is engaging, but some lesser characters steal the show, particularly Lynne Thigpen, who remains my favorite Chief from Where in the World is Carmen Sandiego due to her witty banter. Her humor here includes a few risqué jokes that were expected. Regrettably, she has minimal screen time. Robin Givens (Head of the Class, Batwoman) portrays Kimberly Jonz, serving as the love interest for both brothers and our Lois Lane, attempting to secure an interview with Blankman and causing him to climax with a single kiss. She and Wayans share a convincing chemistry. The main antagonist is Michael “The Suit” Minelli, played by Jon Polito (The Crow), who delivers a strong performance but fails to embody the classic over-the-top villain they were aiming to parody. Jason Alexander portrays Kevin and Kimberly’s boss, Mr. Stone. This character has a sinister edge, suggesting that truth is written by those who create it, and he demonstrates his readiness to trample others for the story. Unfortunately, Stone’s character is predominantly used for wheelchair jokes, some perversion, and a poorly fitted bald cap.

As a lifelong fan of superhero movies, I must confess that “Blankman” left me with mixed feelings. Despite the fact that it boasts some memorable performances and humorous moments, the film as a whole didn’t quite hit the mark for me.

I like the little details in this more than anything in the overall story, like how J-5 is reprogrammed with a SEGA Genesis and cartridges, or when Kevin accidentally says Darryl’s name before the horrible way they come up with Blankman and his brother reassures him no one knows who he is. I made notes about items on the psychologist’s (who happens to be the film’s director) desk and ways to fill in plot holes because that was more intriguing to me. I just think this works better as a skit than a full idea, and that sucks because, by all reports, they had a blast making this movie, and it did not do well in theaters. In fairness, Wayan’s movies have always been a bit hit or miss, and his best work is in The Last Boy Scout (1991).

“He’s just a little McMad right now.”

Initially, the script for Blankman was based on Fartman, Howard Stern’s character, but when that project disintegrated, writer J.F. Lawton had to reimagine the concept. He collaborated with the Wayans brothers to develop a fresh yet comparable style. The revised plan was to maintain the humor and explicit content while keeping an overall uplifting tone. The message was that everyone can become a hero in their unique way. Although it’s a comedic tale, the story aims to subtly convey some depth, ideas that resonate with many viewers. Whether it successfully delivered this message is debatable, but the intention is clear.

The black superhero genre has always had a powerful underground push, especially in the ‘90s, and many in the community appreciate Blankman’s spirit and its portrayal of an early black nerd. Darryl is an interesting character who comes across as an excitable man-child, someone we would now likely say is on the spectrum, an obsessive inventor with extreme neuroses who doesn’t understand most social interactions. It’s an aspect of the film Wayans wasn’t eager to expand on, but that fits perfectly in the world and tone they’ve established. The music sounds dumb at first, but there are some interesting names on the soundtrack and these lyrics are somewhat poignant with the underlying social issues and deeper themes of the narrative, however, the score in a few scenes makes me think this could easily be recut as a horror movie.

In a playful jibe, I tease Darryl like he’s Urkel, and later in the film, I can’t help but utter a “Did I do that?” – a nod to the iconic Family Matters catchphrase. Now, this movie strives hard to emulate the greatness of the masters, but it feels more like a comedic tribute than an equal contender. Yet, when Blankman popped up in Twisted Metal (2023), I knew it had achieved cult status. Not everyone may know how creators gauge success, but being referenced years later is definitely a sign that your work has left an impact. It might not win over the masses, but for those who appreciate it, it’s a cherished gem – or something like that. Often compared to The Meteor Man (1993), perhaps a bit unfairly, Blankman aimed to stand alone and bring laughter, and it succeeded in doing so for a select few. For others, it might as well be shooting blanks.

2024-08-21 00:40

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