Frank Packard is responsible for unloosing the screed of politics and race relations that a few scant fans might be familiar with in the form of Abar, the First Black Superman. Coming towards the end of blaxploitation’s viability in even the smallest of theaters, this 1977 film possesses everything that a movie of the genre should have. There’s a well to do black dude, a pseudo superhero and a slew of evil, demented white folks kicking around. Beyond the traditional tropes associated with this sort of film, there’s even a bit of scientific tomfoolery to be had as well.

Beginning as Dr. Kenneth Kincade moves his family into an affluent neighborhood in Los Angeles, his white neighbors are immediately given to the reality that if black folks are milling around here, they must be the help. But after the brief and troublesome neighborhood introductions, a small, but threatening protest comprised of neo-fascists, hillbillies and ne’er-do-wells congregates on the Kincaid lawn. Eventually a consort sent from the mayor attempts to buy the doctor out of his property, but to no avail. Enter Abar and associates. Being affiliated with some black power group (the Black Front of Unity), Abar eventually offers up his services to the good doctor and his family.

Thus far in the narrative, nothing seems too out of the ordinary. Regardless of the fact that the acting during the first thirty minutes or so of the film is amongst the worst performances captured on film – it gets a bit better as the film progresses, which leads me to wonder if they shot the film a linear sequence. It’s plainly clear that Abar has been assembled by neophytes in order to make a (kinda) valid social point. It’s an idea tossed around in most blaxploitation films – staying in the ghetto to help out is better than moving to the ‘burbs to be safe. Obviously debatable, Abar attempts to bring the Kincades back to ‘where they belong,’ but to no avail.

As the doctor and Abar strike some balance between acceptance and standoffishness, the film attempts to making some sweep proclamations – going so far as to kill off one of the Kincade’s children in the process of illustrating how awful white folks can be. To temper that, though, there’s a previous scene where the doctor explains to his kids that folks who treat them poorly are simply damaged goods and deserve a bit of sympathy. It’s one of the more even handed approaches to race in a film like this one. But even that slight glimmer of craftsmanship is over shadowed by some problematic portions of the narrative arc.

The film basically ends after Abar, who’s given a powerful serum that renders him invincible, begins walking through the ghetto and righting the wrongs of his brethren. It’s an authentic sentiment that’s being related here, which is probably the only thing that keeps Abar from being a throw away. Even if all of this is politics disguised as entertainment, the process that all must have been enmeshed to get this project off the ground is commendable. So, while Abar may get referred to as one of the worst films ever made, it should be excused for nothing else other that its aim.