(An analysis of the Taj Mahal scene) I will continue to look at this source and see if there are any contradictions to my own points of discussion on the film.
‘Flipper and Angie’ affair collapses under the weight of their guilt and isolation and the disapproval of their friends and families. It was a thin relationship to begin with, since it was hastily constructed from their dissatisfaction with their lives and built on the ruins of his marriage. Such materials do not make for a sturdy relationship, and theirs cannot withstand assault and rebuke. Tis is their fundamental problem, yet for the Good Reverend Doctor, Mike Tucci, the guys in Paulie’s shop, and some of the War Council, the affair between Flipper and Angie is a token, a prime example of the fever and distortion of miscegenation. Their fear of a mixed-up, mixed-blood world is brought to life in the fantastic scene in which Flipper searches for his brother, Gator, and ends up confronting him in the grandest of Harlem crack houses, the Taj Mahal. Gator Purify (Samuel L. Jackson) is a homeless crackhead and represents the devastating results of the crack epidemic that plagued U.S. cities, and in particular poor, urban African American communities, in the late 1980s. Flipper’s procession through the Taj Mahal, accompanied by Stevie Wonder’s affective sound track, becomes progressively more bizarre as he stumbles onto tableaus of interracial crack-addled fever and distortion: black hustlers and hookers, white businessmen and labourers, black and white couples, all in the grips of crack fever. Those who agree with the Good Reverend Doctor, Mike Tucci, and the rest may see Flipper’s procession through the Taj Mahal, with its racial and class commingling among squalor and addiction, as a depiction of the nightmare brought on by miscegenation. Lee, however, wants to show his audience that the place where dreams come to die is racially mixed. The worst corner of the dark ghetto is not just black; it is a black and white place. Just as Taj Mahal means “the abode of the chosen one,” so we have built our own mausoleum and abode for the living dead. The Taj Mahal scene, filled with the sliding dance of crack zombies sucking on their pipes, is stunning. Unlike Flipper’s corporate office, the crack den is happily integrated, and it is here, in their desperation, that the denizens have realised a dystopia of interracial intimacy.’
Fevered Desires and Interracial Intimacies in Jungle Fever, Author: Ronald Sundstrom. 2011. . [ONLINE] Available at:http://repository.usfca.edu/cgi/viewcontent.cgi?article=1045&context=phil. [Accessed 31 August 2015].