From the eccentric mind of Melvin Van Peebles, whom many have called "The Godfather of Blaxploitation", comes SWEET SWEETBACK'S BADASSSSS SONG. A very important film in black history, and its relevance is unquestionable. Now whether it's a good movie are not, is up for debate.
Keep in mind, in 1971, racism was still very strong. Black people were fed up, and a change was way overdue. Movies had been featuring African Americans for sometime, and even in starring roles, but there was still a feeling that the stories from the urban streets were not being told. The opening credits of SWEET SWEETBACK'S BADASSSSS SONG states very clearly that this film was made to stick it to "the man" and the people in the starring role are "the black community'. It features a black male prostitute as the lead character, who kills white cops, fucks a white woman, and is known for his sexual prowess, and isn't shy about it. These were unheard of things back then. The film caused an uproar to say the least. To top it off, the film it self is very cutting edge, psychedelic, and sometimes flat out weird.
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Now that being said (here it comes), I can't praise the film as being a good movie. Important yes, but good? The film features bad acting, horrid editing, annoying music (though it was okay in some parts), hardly any script or dialogue, and honestly--bad directing. The first half of the film, despite all the flaws I pointed out, was pretty solid. The second half dragged way too long. How long can you show a man running? It's metaphorical and artsy, but it was boring. I like bad movies, but one thing I will not tolerate is boring. It's the ultimate no-no in my book.
Simply put, the story is about a male prostitute nicknamed Sweetback, a name given to him by a prostitute who took his virginity when he was young (I'll talk more about that scene in moment). Sweetback agrees to be arrested by some cops who know him, because they need to have on paper that they arrested somebody for a crime they know he didn't commit. In other words any black man would do. On the way to the station, the cops arrest a young Black Panther, and take him to a secluded spot to beat the living shit out of him. Sweetback can not stand by and watch, so he decides to defend the young man by using his handcuffs as brass knuckles, and beats the cops to death. Now a wanted man, Sweetback goes on the run, tries to get some money, and help from some friends, then heads to Mexico. On the way he meets some bikers, has more run-ins with the law, and he runs, and runs, and runs, and runs, and runs, and runs, eats a live lizard, and runs, and runs, and runs, and then, he runs some more.
I wanted to like this movie more than I did. I totally understand the relevance of it, and the film is most definitely a time capsule of the era. Another thing is the fact that it's considered a blaxploitation film, when I found it to have more in common with the underground directors of the time like Paul Morrissey and John Waters than say a Jack Hill or Larry Cohen flick. Sure, there is sex and violence, features a black actor in a lead role, and is about urban life in the 70's, but it just didn't feel like a blaxploitation film to me--way too arthouse.
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I found the documentary that came with the DVD to be more interesting than the film. It's basically Melvin Van Peebles talking about the production of the movie while walking through the streets of Paris. He's an odd guy for sure, and I understood why the movie seemed so weird—because the director was weird. Don't get me wrong I like weird people, and Van Peebles seems like an interesting guy. What I would have liked, is to have heard more of his thoughts on the opening scene where a young Sweetback (played by Melvin's son, a very young Mario Van Peebles) loses his virginity to a prostitute. You'd have to see it for yourself, but damn, it comes almost too close to being kiddy porn for me--yikes!
It was nice to see a young and burly John Amos in a small role (he should have played Sweetback, IMO). Also, the actress that plays Sweetback's love interest has maybe the only standout performance. Her "I'm clean" scene reminded me of some of the urban poetry in Ralph Bakshi's COONSKIN.
There is one scene in the first half of the movie where Sweetback goes to visit a friend, I thought was weird, but funny at the same time. I don't know the actor's name, but the character talked in jive so heavy that I would have needed Barbara Billingsley to translate it for me. Not to mention we get to watch the character dry off after getting out of the shower, and take a shit (WTF?!). Van Peebles was just keepin' it real, I suppose.
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Then there is the fact that Sweetback is supposed to be a sexual dynamo when all he does is the missionary position (laying flat on top of the woman and slowing moving up and down---very slowly). What the hell??? Someone give this guy a copy of The Joy of Sex pronto!
The music is supplied by Earth, Wind and Fire (pre-"Shining Star" era) and the songs are written by Van Peebles. Some of it is good, but some is really bad and annoying. I have to give it up to Van Peebles for giving such an all around effort. Watching the film, I can see what he was trying to achieve, but he just couldn't pull it off. It's a damn good try, and the movie will forever be remembered as the movie that broke through the boundaries, and for being an important film. Also, I highly recommend seeing Mario Van Peebles documentary on the film, and his father called BADASSSSS.
Screenshots courtesy of www.blaxploitationpride.org
SWEET SWEETBACK'S BADASSSSS SONG trailer