Movies

Still quietly radical, ‘Killer of Sheep’ showcases an unvarnished side of 1970s L.A. life

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For several decades, Charles Burnett’s most notable film was only a whisper among movie enthusiasts. Filmed during weekends in the early 1970s with an untrained cast and a budget under $10,000, “Killer of Sheep” didn’t have its first public screening until the fall of 1978 at New York’s Whitney Museum. It was shown sporadically only at film festivals, colleges, and museums. The movie did not receive a proper cinematic release until 2007, due to complex music rights issues that seemed to condemn it to obscurity. Prior to its theatrical release, many people hadn’t watched “Killer of Sheep,” but in reality, we had only glimpsed fragments of it.

As a passionate movie enthusiast, I’m thrilled to share that “Killer of Sheep,” now beautifully restored in 4K, is finally complete and back with Dinah Washington’s version of “Unforgettable” gracing its poignant finale – a piece that was previously unavailable for the 2007 release. This film, hailed as one of our city’s finest, a beacon of American neorealism, and the peak of the Black independent filmmaker movement known as the L.A. Rebellion, might initially confuse first-time viewers who expect grandeur from all masterpieces. However, it’s not about swagger or visionary spectacle; it’s about the tender, rhythmic portrayal of everyday life. As the program notes from its Whitney premiere suggest, Burnett aimed to “recreate a situation without reducing life to a simple plot.” In “Killer of Sheep,” many small things occur, seemingly insignificant events. Yet, it’s the magnification of life itself that is truly profound.

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This week marks significant anniversaries: the 40th anniversary of Paul Schrader’s ‘Mishima,’ and the screenings of Lina Wertmüller’s ‘Swept Away’ and ‘Looking for Mr. Goodbar’ in their restored 4K and 35mm formats respectively.

During his late 20s, Burnett was a UCLA graduate student who developed the character of Stan (Henry G. Sanders), a resident of Watts who is both a husband and father of two. Stan works at a slaughterhouse, which serves as the basis for the film’s title, but the narrative spends relatively little time focusing on his job. The contrasting scenes of livestock bleating and skinned carcasses create an impact, yet they are merely one component in a complex weave of interconnected themes, none of which are emphasized more than the others.

Instead of telling a traditional storyline, “Killer of Sheep” conveys an overall mood or atmosphere. The protagonist, Stan, consistently appears weary, mirrored by his wife (Kaycee Moore), who exudes silent sorrow. Through scattered moments, we grasp the picture of a struggling family and their surrounding impoverished neighborhood. In one scene, Stan’s companions attempt to involve him in an illegal venture but fail. In another humorous sequence, Stan and a different friend struggle comically to move a heavy car engine onto the back of a truck. Occasionally, a white store owner flirts with Stan, hinting at job opportunities for him.

In each segment, a small slice of life unfolds, yet they all tie back to the persistent hardship and tenacity that characterize Stan’s life. Initially, Stan ventures his struggles to his friend Oscar, who bluntly suggests, “Perhaps you should end your own life; it would make you much happier.” Despite this proposition, Stan rejects the idea, although he confides to the viewer, “I fear I might inadvertently hurt someone else,” hinting at an underlying sense of exhaustion rather than threat. This somber tone persists throughout “Killer of Sheep,” a film devoid of grand tragedies or plot twists, instead offering a peaceful detachment as it captures everyday life in the working-class community through black-and-white 16mm footage shot by Burnett himself.

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The film’s unassuming style hides a revolutionary method of portraying everyday Black life, which was not commonly seen at the time. Scenes of children casually throwing stones at passing trains are straightforward and realistic, much like a documentary. Furthermore, the dialogue is mostly practical, with Burnett avoiding any grand conclusions. Instead, he resists stereotyping Watts as an inner-city stereotype or its inhabitants as wide-eyed saints.

Instead of perpetuating stereotypes, “Killer of Sheep” provides a subtle tribute to the Great Migration and the African American families who journeyed from the South to Los Angeles in search of a new beginning but found a less than welcoming environment. The soundtrack, filled with blues, R&B, and jazz, frequently reflects the suppressed emotions – be they sorrow or joy – that the characters harbor. This film is a testament to unintentional aesthetics, with breathtaking moments skillfully crafted with minimal effort.

In an earlier phase of his career, Sanders portrayed a character named Stan, whose depression was not just about financial struggles. Instead, Stan seemed more like a captain of a ship that was sinking, overwhelmed by his own failure. Remarkably, the performance did not invite sympathy, which is all the more impressive when considering his costar Moore, a significant figure in future L.A. Rebellion films such as “Bless Their Little Hearts” and “Daughters of the Dust.” Moore, who passed away in 2021, had an extraordinary ability to express everything through her gaze. As Stan’s wife, she conveyed both the disillusionment and enduring love this woman felt for her struggling husband. A moment when she looked at herself in a pot lid’s reflection highlighted the often overlooked strength of many mothers. The poignant slow dance between Stan and his wife in their living room, set to Dinah Washington’s “This Bitter Earth,” was heart-wrenching. Washington poignantly sang, “Today you’re young, too soon you’re old.

In careful selection, Burnett crafted the film’s soundtrack, creating a deeply soulful contrast to his poignant depiction of inequality, not only in L.A., but across the nation. The late political activist and singer Paul Robeson, who passed away a year before “Killer of Sheep” was finished, is prominently featured on the soundtrack. His powerful voice acts as a moral guide, particularly on “The House I Live In,” which looms over a scene of Black children playing amidst the dirty streets and abandoned buildings in Watts. Robeson ponders the question, “What is America to me?”, a query that echoes through the film. He offers an answer: “America to me is all races, all religions.” In this way, “Killer of Sheep” reveals a hidden America, from coast to coast.

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2025-04-26 19:01

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