Apparently Clampett's intentions were genuinely progressive and a lot of the caricatures were shout-outs to people he knew personally, but that doesn't necessarily make for a great cartoon, let alone by modern standards. I mean, layers of meaning are great, particularly if they're subversive, but the fact that the face value level is "minstrel parody" is... hard to get past.
Having not seen it, I can't say how well it works anyway; and I probably don't have a good enough working knowledge of '40s hot jazz culture to get the subtler stuff at work in the first place, but so it goes.
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Having not seen it, I can't say how well it works anyway; and I probably don't have a good enough working knowledge of '40s hot jazz culture to get the subtler stuff at work in the first place, but so it goes.