In Spike Lee’s intriguingly unique, almost near “sit-com'' type/style film production titled “Bamboozled”, a both hilarious yet tragic in nature turn-of-the-century (or in this particular sense/context, modern 21st century) story is being depicted. This film apparently uses a lot of evidently heavy elements of irony and satire, which all contribute to the overall depths of this particular piece that is being presented/shown to its audiences. Although it is rumored that in terms of/regarding the film critic world’s general point of view or perception, this specific film work is not as well-acclaimed as a lot of Spike Lee’s other previously made ones out there, but nevertheless, it is still an extra important production which contains a lot of unignorably crucial messages with it, that is without a question or doubt worthwhile discussing/talking about/delving deeper for sure.

The main message/point which this specific movie is trying to send out to us, or in other words, the exact central emphasis that film director Spike Lee is trying his absolute hardest to try to inform us on, is that the many different racial/cultural hardship/struggles that black people/African Americans were collectively facing/experiencing with centuries ago (no matter during the colonialization enslavement era, after the freedom of slaves, or within the Civil Rights Movement period), as a matter of fact, haven’t completely deminished nor faded away, but rather, are still pretty much prevalent and around the corner until this very time and day within the contemporary American society. The actual reality that has been gradually revealed/disclosed to its audiences along the film development line is that in fact, on many levels and terms, the apparent societal situation/circumstance in the nation of America is that African Americans, alongside with black culture itself, has been subtly/covertly transformed by the general media portrayals and/or the entertainment industry, into what could be well identified as well as be well perceived/seen as the generation of the “brand new 21st century blackface minstrel show”, which not much has really changed, and not much progress has really been achieved since so many decades ago back then, by examining/evaluating on its true nature/form that way. Although it is understood and realized that it may well seem like that things have shifted quite a bit from before, simply by easily and conveniently judging on the outside surface value of it, but as one perhaps would like to observe/inspect more carefully as well as a bit closer that way, the contemporary phenomenon of negatively harmful/destructive/damaging cultural/racial trends/patterns that is not only exclusive with this current era, but was apparently also evident to be able to discover generations ago, would then slowly resurface and turn out by itself.

It is totally undeniable that modern-time African Americans are collectively flourishing in many different cultural areas and fields, especially in terms of the entertainment industry aspects of things, as the many critically well-acclaimed music creations (as everybody out there knows, rap and jazz music genres are once created by blacks), the most popular stand-up comedians, as well as the most famous star athletes (notably basketball players, as seen from NBA matches) are blacks. Honeycutt even says something like this in the film itself: “Black people are natural entertainers and are indeed born to entertain”, as if the specific race of people has an inherently in-built racial talent/advantage/sense that they could easily carry along with them throughout their whole entire lifetime that way starting right from the exact point of birth. While on the other hand, it should be unforgettably important and crucial to also keep note that, although it does seem like, on the outside surface value at least, that black people’s general societal status is improving, that African Americans have finally earned themselves an appropriate social position/place that would deserve according respect, without being forced to follow the old-fashioned racial order of the past, but still, the truest truth, despite all that, is that, the common black citizen’s rights are oftentimes still being violated on a daily or day-to-day basis, either overtly or covertly, and that the society is oftentimes intentionally limiting blacks to certain social rules, most of the time to the position of, and only of, the so-called “stage performing entertainers” (which performing on the center of the spotlight, in millions of people’s eyes that way, could be interpreted as the only possible time that they would really get the potential possibility or chance to ever shine or be able to fully run their rights that way, without being directly disrespected or facing indirect disrespects in this modern society), nothing else more/other than that. And maybe, just maybe, the only possible way/method to really stand up and thus bravely “say no” to this sort/kind of systematically imposed oppression and the countless age-old stereotypes that could be seen as heavy weights/burdens being put upon the specific racial group itself, is by courageously volunteering to take on the inevitable adventurous trip/ride of a lifetime - that of, going through a series/sequence of confusing "bamboozled-like" circumstances and situations in order to reach one's "true identity" in a racially self-examining lense/form, and thus from there/by then, ultimately being able to disclose all of the secretive hidden meanings lying beneath/under one's own racial existence, as well as the accompaying higher purposes that would surely and undobtedly considered to be tightly bonded, connected, and associated with those supposed racial defintions that way, or, in other words, exactly as the trilogy of life events which the main character/protagonist of this film piece, Pierre Delacriox, had have to experience with himself, as Spike Lee specifically designed and setted up these particular meaningful plots/episodes in order to seek to present to us here, with his best personal efforts.