Have you ever heard a statement that just clings to your very being? Or hear something that buries itself deep within your core and challenges your very way of living. I remember the first time I ever picked up Alan Moore’s Watchmen. It was a few weeks after losing a friend to suicide and just the language of the book and its themes was embedded to me. The book challenged me to really dig deep and ask the question, what does it take to truly love your fellow man? We have so many differences that can easily cause divisions. Political views, religious views, views on social issues and more. Sometimes, things like this are downright alienating.

When HBO was rumored to be doing a Watchmen series, it was a only a couple of years after the film underperformed at the box office. Not to mention, it was divisive with audiences as well. Some truly loved it and some wanted to see another take on it. Thus, the conversation of a television series was birthed. From there, Damon Lindelof – creator of The Leftovers – was announced to be the showrunner for the series. In an interesting twist of events, the series was removing itself from the source material to take place 30 years after the events of the book. Instead, it bought focus to real sincere issues. In an interview, for the series, Lindelof speaking on the series’ themes. He said something to the effect of superheroes can’t find racism.

What a bold and beautiful truth to be challenged by. Racism feels like something that has been embedded into American soil since its inception in 1776. Though, Lindelof and company aren’t the first to fight racism within the superhero genre. During the bloom of African-American superheroes in the pages of comics, Frank Packard, J.P. Joshua, J. Walter Smith, James Smalley and more aimed to bring a new hero to the silver screen. During the height of the Blaxploitation cinematic movement, viewers were introduced to Abar. In his first, and only outing, Abar: The First Black Superman tells the story of an African American family moving into a notoriously Caucasian neighborhood, only to be meant with extreme prejudice. In that war, the family meets Abar (Tobar Mayo) who ultimately befriends the family and becomes superhuman out of the relationship.

There is a brutal honesty to this film’s social commentary. Even being 40 years removed from the film’s theatrical run, the film’s themes still remain as relevant today as they were then. The filmmakers do a remarkable job at building up the threat of racism. Not to mention, the relationships that are birthed out of the unfortunate circumstances which befall this family at the center of our story. The chemistry and acting are fairly decent for a lower budget film. Sometimes, it can comes across a bit cheesy. Though, the cheese is far and few between. Honestly, most of the film’s acting issues (& most of the film’s issues period) lay within the final act. The first two acts of Abar are undeniably powerful. The filmmakers do a marvelous job at building up the relationship with the characters. As well as the film’s themes. There is a very grounded nature to these acts.

Though, it’s when the tone ventures into the fantastical, the quality dips. The journey of Mayo’s character, Abar and his relationship with Doctor Kincade (J. Walter Smith) has such a beautiful evolution to it. When a tragedy befalls Kincade the only logical thing to do is to make Abar a superhero? It makes little to no sense for the characters or the film’s tone. The final act is an extended montage of random close-up on Mayo and individuals effected by his power. His power set is ever once explained, either. A rather jarring narrative decision, in all honesty.

Overall, Abar: the First Black Superman, is strongest when it lives in the natural and grounded. The film’s themes of racism challenge viewers to grow personally. The core relationship between J. Walter Smith’s Doctor Kincade and Tobar Mayo’s Abar is the sincerest reason to invest into this late 1970’s genre piece. The gradual build and evolution are beautiful to watch unfold. Though, once the film enters its’ third action, it completely falls apart. Its’ social messages and importance slowly dissolve – along with its tone. The fantastical turn makes for a baffling third act that is compromised of close-ups of Mayo and how he is affecting people near him. Abar: The First Black Superman is only super for its first two thirds, but its message and themes still remain relevant in today’s climate. Which in turn makes Abar an important piece of cinema not to overlook.

RORSCHACH RATING

If you or someone you know is reading this right now and you are struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message or tweet to us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!

Victims and Villains is written and produced by Josh "Captain Nostalgia" Burkey. Music by Yuriy Bespalov & Beggars. Abar: The First Black Superman is property of Mirror Releasing & Xenon Pictures. We do not own nor claim any rights.