Buzz
The film industry has a troubling legacy of racism, both overt and subtle. While some argue these films reflect the outdated values of their time, it’s hard to ignore how they crossed boundaries that should have been respected.
10. Mandingo 1975
Adapted from Kyle Onstott’s novel Mandingo, this film is widely regarded as one of the most racially offensive movies in history. Critics, including Roger Ebert, condemned it, labeling it as “racist trash” and “a piece of manure.”
Set during the era of slavery in America, the film is infamous for its graphic portrayal of interracial dynamics. The white protagonists are shown as abusers, coercing their slaves into sexual acts. Both white and black characters are reduced to harmful stereotypes, even in their mannerisms and speech.
9. The Passion Of The Christ 2004
Mel Gibson’s well-documented anti-Semitism further tainted public opinion of this film. The Passion of the Christ portrays Jewish people as responsible for the crucifixion of Jesus Christ, perpetuating a harmful stereotype that has historically led to widespread violence against Jewish communities.
In the film, Jewish leaders are depicted as sinister, manipulative figures who pressure Pontius Pilate into executing Jesus. Even Jewish bystanders are portrayed as ignorant or misguided for not recognizing Jesus as the Messiah.
8. Gone with the Wind 1939
Widely hailed as one of the greatest films of all time, Gone with the Wind offers a glorified view of the American South during and after the Civil War. However, its portrayal of black characters, whether enslaved or free, is deeply racist. Mammy, the most prominent black character, is depicted as dependent on her white employers. Enslaved individuals are shown as submissive and even affectionate toward their white owners, reinforcing harmful stereotypes.
Black characters labeled as “bad” were subjected to an even harsher portrayal
7. Song of the South 1946
Centered around a young white boy named Johnny who relocates to the South, Song of the South is blatantly racist in its portrayal of black characters, particularly Uncle Remus. The former slave entertains Johnny with fantastical stories featuring mythical creatures, many of which embody racist stereotypes. The film faced such widespread criticism that Disney has banned its distribution since the 1980s.
Fun fact: Due to the racist connotations of the “tar baby” story in the film, Disneyland’s Splash Mountain ride replaced it with Br’er Rabbit getting trapped in a beehive.
6. The Littlest Rebel 1935
In this film, Shirley Temple stars as Virginia, the youngest daughter of a plantation-owning family during the Civil War. After Fort Sumter is attacked, her father departs to serve as a scout for the Confederate Army. Virginia remains on the plantation under the care of her mother and Uncle Billy, one of their slaves. When her father is captured and sentenced to death, Virginia manages to meet President Abraham Lincoln, who spares her father after hearing her plea.
The film commits two common offenses seen in Civil War-era movies. First, Uncle Billy embodies the “Uncle Tom” trope, suggesting that black men were content with slavery and willingly submissive. Second, the enslaved characters are portrayed as fearful of Union soldiers, even expressing a desire to remain enslaved rather than embrace freedom.
5. The Mask of Fu Manchu 1932
Fu Manchu, a character portrayed by Boris Karloff in exaggerated makeup, had been a cultural figure for two decades by this time. Karloff’s portrayal leaned heavily into Chinese stereotypes, featuring long fingernails, slanted eyes, and a face covered in yellow powder to emphasize an “Oriental” appearance.
Fu Manchu is depicted as a ruthless criminal genius determined to eradicate white people. One of his most notorious lines is, “Kill the white man and take his women!” The films also perpetuate sexism, reducing female characters to mere objects of desire.
4. Soul Man 1986
While its comedic tone might mask its problematic nature, Soul Man is undeniably racist. The film centers on Mark Watson, a wealthy Harvard student whose father cuts off his tuition. Desperate to stay in school, Watson hatches a plan: he takes an excessive amount of tanning pills to darken his skin, posing as a black student to secure an affirmative action scholarship.
Though the movie’s plot may seem harmless, its use of blackface—particularly in the late 20th century—is deeply offensive.
3. Goodbye Uncle Tom 1971
Undoubtedly, Goodbye Uncle Tom stands as one of the most racist and morally reprehensible films ever created. Universally condemned by critics, this Italian production masqueraded as a documentary on slavery but instead delivered a deeply offensive portrayal of black people as monstrous figures who “deserved” their suffering.
Borderline pornographic in its execution, the film is also infamous for the real-world racism of its creators. Most actors were impoverished Haitians or Africans, exploited and humiliated for minimal pay due to their dire circumstances. While the depiction of slavery may have been historically accurate, the film’s glorification of cruelty makes it inherently racist.
2. The Birth of a Nation 1915
Many would argue this film deserves the top spot on this list, and for good reason. Set during the Civil War and Reconstruction era, D.W. Griffith’s epic was a groundbreaking technical achievement that shaped cinema for years. Until Gone with the Wind surpassed it, The Birth of a Nation was the highest-grossing film of all time—despite its glorification of the Ku Klux Klan.
Among the many criticisms, the film’s use of white actors in blackface for many black roles stands out. Its racism peaks in its portrayal of black individuals as uncivilized and driven by uncontrollable lust for white women. Additionally, it romanticizes the KKK’s origins and their impact on American history.
1. Triumph of the Will 1935
While numerous German propaganda films could have earned a spot on this list—potentially dominating it entirely—Triumph of the Will stands out as the most egregious. Though hailed as a technical masterpiece, the film is essentially a celebration of German nationalism and propaganda.
Masked in anti-Semitic and racist undertones, the film’s most notable quote, from Julius Streicher, emphasizes Nazi ideology: “A nation that fails to safeguard its racial purity will face destruction.” Despite director Leni Riefenstahl’s claims of ignorance regarding Nazism’s true intentions, the movie remains a symbol of racism.
