The American Society of Magical Negroes: More Myth Than Magic

The "Magical Negro" trope has a troubling history in cinema. Coined by Spike Lee in 2001, this term describes a specific type of Black character whose sole purpose is to support a white protagonist, often through wise sayings and vague supernatural abilities. This concept is central to Kobi Libii's debut feature, The American Society of Magical Negroes, which envisions a world where a secret organization of Black individuals work together to soothe anxious white people.

Exploring such a pervasive stereotype in filmmaking is an intriguing concept, and Libii aims to raise significant questions about race and representation. However, the film, which premiered at the 2024 Sundance Film Festival, struggles to fully address the themes it presents.

In the movie, Justice Smith plays Aren, a young artist whose main traits are his passion for unfashionable yarn sculptures (which no one buys) and his constant self-doubt. He navigates life apologizing excessively and failing to stand up for himself. After a failed art exhibit, Aren tries to help a drunk white woman with an ATM, only to be accused of theft.

Luckily, a mysterious figure named Roger (played by David Alan Grier) intervenes and introduces Aren to a covert society of Black people. For centuries, this society has aimed to manage white discomfort and make white people's lives easier as a way to prevent white violence and protect Black lives.

The film's satirical premise is clever and engaging, especially in scenes set within the society. Libii effectively parodies the "Magical Negro" trope with references to films like Driving Miss Daisy, The Legend of Bagger Vance, and The Green Mile. Yet, the film loses momentum as Aren’s first task involves assisting a clueless white guy, Jason (played by Drew Tarver), at a struggling tech startup led by an irritating CEO reminiscent of Elon Musk or Mark Zuckerberg.

Aren soon becomes entangled in a love triangle with Jason and his attractive coworker Lizzie (played by An-Li Bogan), leading the film into predictable romantic-comedy territory. Aren must choose between following his heart or sticking to the society's mission.

The mystical and satirical aspects of the society don’t blend well with the straightforward rom-com plot, causing American Society to falter in both genres. The film fails to explore the rich potential for world-building within the magical community, providing only minimal details such as its location in a hidden part of Monticello and accessible through a secret door in a barbershop. Additionally, Aren's backstory is shallow, limited to his fascination with yarn and his habit of apologizing.

While there are some effective jokes and Smith delivers one of the film’s funniest lines accusing Jason of "colonizing his crush" on Lizzie, the characters mainly speak in vague statements about race and love. The film’s supposed climax, where Aren gives a dramatic speech about his existence beyond reassuring white people, comes too late to make a substantial impact. Overall, American Society struggles to decide between biting satire and charming rom-com, ultimately failing to excel in either genre.