I’d have to agree with the anonymous author on one point: if I wrote such a virulent attack, and tried to pass it off as critical analysis, I wouldn’t sign my name to it either.  I wouldn’t be surprised to see such a diatribe from the Nation of Islam or similar pro-segregation organizations that uphold racial purity and only look out for their own kind.

Alternatively, a post-civil rights era perspective can reveal the movie as a tale of cultural integration and the growth of compassion.  In this case, Lawrence Musgrove’s execution could be the cinematic representation of injustice visited upon blacks throughout American history.  The death of both Sonny and Tyrell (Hank and Leticia’s pure-bred sons) reflect the lack of future for segregationist policy for either race.  Could the monumental sex scene be the turning point, the ‘little death’ of racist America, the opening of white men’s eyes to the plight of his fellow Americans?  If Hank’s guilt over past injustices compels him to give Leticia whatever she needs to become self-sufficient, the car and business are not fees for services rendered, but affirmative action or reparations.  At the same time he welcomes her into his own home, displacing his father and the racist traditions the elder represents.  This act inverts historical miscegenation – Hank brings Leticia into his home in broad daylight, whereas the proverbial Thomas Jefferson certainly visited Sally Hemings in the slave quarters under the cover of darkness.

Of course, the movie ends with the interracial relationship in-tact, leaving the viewer to infer the mixed-blood fruits it may spawn.  The Wanna-be’s and Jigaboo’s can fight about whether Hale Berry is Nubian enough, perhaps the rest of us glimpsed a future where it doesn’t matter.