Let’s Do It Again
What do you get when you mix funk, hypnosis, boxing, hustlin’ and church? You get Let’s Do It Again, starring the Uptown Saturday Night duo Bill Cosby and Sidney Poitier and the ever-hilarious Jimmy Walker, who most know from the TV show Good Times. Apparently, this film is seen as a sort of trilogy with Uptown Saturday Night and A Piece of the Action, but I’ve only seen this one and have yet to blur in other films into its overall plot since it stands up great on its own.
Clyde Williams (Sidney Poitier) and Billy Foster (Bill Cosby) are two friends who desperately want to help their congregation, awesomely named The Brothers and Sisters of Shaka, who are in need of financial aid. In order to keep it from breaking apart, Billy refreshes Clyde’s memory of a time when they harmlessly used Clyde’s solider-derived knowledge of hypnosis to have a little fun and to make him see the advantages of using such a tool to place bets on boxing. The two come to an agreement and take what little money the congregation has in its savings and venture to New Orleans in order to bet on boxers, with the pressing deadline of the congregation's need in mind. There they scout out the most pitiful opponent, Bootney Farnsworth (Jimmy Walker) and hypnotize him into thinking that he is practically invincible. From there they place an astounding bet that Farnsworth will win his match against 40th Street Black. The plan works and the two win boatloads, returning home where they save their congregation and sit on easy street as local heroes, leaving behind angry and street-smart betters who know something fishy has happened.Continue Reading
Looking For Langston
A beautifully photographed film on various aspects of black male sexuality in western culture is revealed within the “pseudo-documentary exploration of the life of Langston Hughes” [note to self: don’t believe the hype], Looking For Langston.
It’s a short film but it rushes headlong and moves easily and quickly between archival television footage of Langston Hughes reading with jazz combo accompaniment, archival photographs/footage of Harlem and various Harlem Renaissance figures (and some non-Renaissance figures such as Robert Mapplethorpe) along with faux-archival footage and images which are interspersed, broken up, explained and explored with readings from the works of poets Bruce Nugent, James Baldwin and Essex Hemphill visually mated to scripted black & white fantasy sets of nightclub, bedroom and outdoor scenes populated by black men (and a few white men) as a means of touching on, and exposition of, the effects of racism, classism, desire, exploitation and threats of violence and STDs in relation to Anglo/American gay black men.Continue Reading
Spike Lee’s films have always been hit or miss for me. I grew up watching them, as they were fictitious and familiar depictions of African-Americans, but for the longest time I fell just short of pleased with his work. Forgive me for going on a tangent, but I feel the need to cite the differences and subject matter of some other Spike Lee Joints before raving about this one.
The first Lee film I saw was Crooklyn, and it is perhaps the only other that I am fond of. In short, it is an energetic, sometimes melancholic film about a family in Brooklyn—more or less through the eyes of the couple’s only daughter in their large brood. Overall, the movie is harmless, though it deals softly with substance abuse and death, but it’s a little too gentle; it held up when I was a child, but lost flavor for me in adulthood. This criticism does not translate to it being a bad film, but rather anticlimactic. Another that comes to mind is Jungle Fever—a ballsy film about two co-workers (black male/white female) who become lovers despite their committed relationships. The movie unfolds with over-the-top characters and events, ultimately making it very black and white, both literally and figuratively. I remember being unmoved by the assumed dangers and taboo thrills of biracial lust. It disappointed me then, and it does now. Do The Right Thing, while it is Lee’s most popular and acclaimed work, still reminds me of the misdirected angst that would follow its release in the form of riots. Obviously the film is not to blame, but in times of such hostility, you'd think a message geared toward working together would be better suited and more universal. Its deadpan racist rants (common among his Italian and Black characters) hit you over the head so hard that it almost begs you to choose sides, if not fails to deliver a clear message.Continue Reading
Night Catches Us
The low-budget period piece, Night Catches Us, is a rare kind of film these days - a complex, quiet, adult drama. More rare it’s about black people, and though it’s intense, the intensity comes from the characters' personal torment, not on-screen violence. In a perfect world Night Catches Us would catapult its first time feature director, Tanya Hamilton, as a major new relevant voice in film, but unfortunately there are no robots or superheroes in this story. The two lead performances by Anthony Mackie and Kerry Washington reaffirm their standing as two of the most reliable actors of their generation.
What happened to the “Movement” and how does that generation of black revolutionaries learn to live in a world after the revolution has fizzled out? The film slowly opens up and unfolds. It’s 1976, after years of being in exile as a snitch, ex-Black Panther Marcus Washington (Mackie) returns to his Philadelphia neighborhood to confront his past. The word on the street was that he got his best friend killed by the cops, which makes him an enemy to the folks in the hood, except that friend’s ex-wife Patricia Wilson (Washington). Also once a radical, she’s now a respectable lawyer raising a daughter as a single mother. She and Marcus seem to have something between them. Is that why her husband was killed? Or are they both just haunted by the death of a man and the loss of a way of life? What's left to fight for or stand for? These are two people lost in the past desperate to find a future. Though they do come together, there are too many ghosts between them to let them really fall in love, which in an Ibsen-like twist is what creates their bond.
Facts, thoughts and character motivat...
Nothing But a Man
"They don't sound human, do they?" - Duff Anderson
When I was a kid, movies took up a big slice of my daily routine. I was an introverted introvert with nary a friend to call my own. Pop's wasn't around so that left my mom, sister and our RCA television to raise me. I was devouring movies at such an alarming rate my mother began to worry. But that's what mothers do; they worry about their children - especially African mothers. (How will she ever get a grandchild from someone who prays to a TV set?) By the time I was seventeen, I was a self-proclaimed film buff. (Not like I had anything else going for me.) I openly mocked peers with my cinema prowess, brandishing pithy one-liners and pop culture references to put them in their place. But one of those underlings asked an interesting question: "What was my favorite film on African American life?" It made me ponder how much Black cinema I've actually seen. The answer startled me. Now, outside of John Singleton, the Hughes Brothers, some Blaxploitation movies and the occasional Spike Lee joint, there weren't that many I was exposed to. I blamed it on the fact that compared to others, African American movies were far and few between. Heck, I saw more movies from Alfred Hitchcock than all the directors I named above combined. But that was lazy and actually quite inaccurate. There was plenty of gold to be had. So I started to dig. Nothing But A Man was one of those gems I discovered. Now this may come off as hyperbolical fluff but I honestly believe this is not only one of the best films on African American life, but American life, period. I never liked the distinction between the two anyway. It's rare to see a film on this subject handled with such tact and elegance - a quiet, sensitive piece with the delicacy and finesse of a Swiss watch.Continue Reading
Ice Cube delivers in his directorial debut with Players Club, a fast paced drama that leaves plenty of room for action, comedy and some well-rounded camp. Many of the scenes resonate with the feel of a late 90's music video on MTV, filled with tons of grey and green hues, over-exposed camera shots, and quick-cut editing. Players Club contains elements of some of my favorite films within the past 20 or so years. Morals are lifted from movies like Showgirls (the passion to stop at nothing to find and finish your dreams) but without all the over-acting and ham-fisted directing. Or it could even be compared to a newer film like The Heart Is Deceitful Above All Things (the human spirit going to the darkest recesses of the mind to rise above the constraints of reality no matter what the cost).
How about we stop here to say I really do not want to turn this review into a serious critique on film and cinema by using these movies as examples of the human struggle in comparison to Players Club, but this movie has the goods and goes into situations all of us have to face in daily life. Showing us how our actions have consequences. With all that said, remember, this film has a strong "scent" of the movie Friday written all over it, so it's not all just drama and seriousness. Ice Cube hasn't forgotten that films are here to entertain us. ....STRAIGHT OUTTA COMPTON!!!Continue Reading
Raisin in the Sun
"What happens to a dream deferred? Does it dry up like a raisin in the sun?"
Langston Hughes' opening lines to his poem "A Dream Deferred" inspires the title of the film, which is adapted from Lorraine Hansberry's 1951 Broadway play. The story is about the working-class African American family in Chicago, each member struggling against the idea of deferred dreams. The way each character has to fight against generational prejudice to achieve their dreams makes a most powerful, touching story, as deep to the core of African American history. And while I want to cry at the injustices that bind many to social despair, I am inspired by the moments of strength that the human spirit can possess.Continue Reading
About the only thing this Shaft remake has in common with the original Richard Roundtree cop classic is that great Isaac Hayes theme song and similar funky score (and Roundtree pops up in a supporting role in this one). Both Shafts are swinging ladies men and both have to deal with race issues being African-American cops in a hostile world and working with a corrupt police force. What makes the remake stand out as more than just a serviceable late night TV time killer is the presence of two great unlikely villains teaming up, played by two great actors, Christian Bale and Jeffrey Wright, working at their scenery chewing best.
The original Shaft, directed by Gordon Parks is usually unjustly labeled "blaxploitation," but it’s degrading because Shaft was actually much closer in class and style to an acclaimed crime film like The French Connection than say, some jive like Superfly. Shaft became a minor cultural phenomenon, birthing two decent sequels and even a short-lived television series. The inevitable remake comes 30 years later, and though it might not have delivered as a franchise starter, it does deliver perfectly as a solid action guilty pleasure.Continue Reading
Released in 1972, Gordon Park’s Superfly immediately became a classic of the “blaxploitation” genre. Sporting the most stylish pimp threads of the early seventies, Ron O’ Neal plays “Priest” — a smooth talking, high rolling, cocaine dealer with a steely gaze and a firm backhand.
As the story opens, Priest finds himself in a bit of a mid-life crisis. Realizing that his days in the business are numbered and that if he wants to make it off the streets alive, he needs to cash in with one big final score of the white. The problem is, the police want him in prison or dead, and the mafia have no intention of letting their top earner enjoy an early retirement.Continue Reading
Symbiopsychotaxiplasm: Take 1 ½
My most favorite movie titles: (1) Garfield 2: A Tale of Two Kitties & (2) Symbiopsychotaxiplasm: Take 1 ½, directed by William Greaves. Greaves’ title refers to the term “symbiotaxiplasm,” a concept coined by social philosopher Arthur Bentley. This term describes the assimilated totality of a society and its affects by humans and to humans. Every person, place, object, and thing that a society creates, maintains, and destroys is accounted for in the word symbiotaxiplasm.
Greaves added the “psycho” to affirm how our creativity and psychology can affect our society, and in turn, how we affect it. Make sense? Good. Moving on…Continue Reading