Ein Mann sieht schwarz

First - WHO's Godfrey Cambridge?!?! Yeah - he was a comedian. And a VERY funny one. Sigh.

OK, now that I've said that, let me make a couple of things understood. A lot of people who've written comments about this are either too young to remember the 60's/70's or are trying to relate to this film from today's perspective.

This film was written/directed by Melvin Van Peebles, who - at the time - was (and, by some - unfortunately) considered a 'controversial (black) artist. Second; yes, the makeup is not as good as the wonderful job done on Eddie Murphy in various films/skits, or the Wayans' brothers, but - for the make-up tech of the day - it was VERY good (look at the scene in the beginning when Godfrey's exercising (naked!), and then going to the shower. I just watched it on HD, and it still holds up VERY well (and as an aside; I saw this film first when I was about 10 - on TV. I thought upon seeing it that REALLY was a white man who became black. So, just remember that while you might not think his make-up's up to snuff now, it sure did convince an earlier generation).

Understanding when this film was made, the 'situation' of race relations at the time, and the ability for a (black) artist like Mr. Van Peebles to MAKE this film is necessary in understanding how shocking this film was - in all those areas.

Yes - the film's a bit dated (but who isn't?). But watching this film - and understanding what I've just explained makes it all the more extraordinary. Alex P (miskatonic86), and Definitedoll (just to name a couple) are some of the few who understand this film's importance.

Mr. Cambridge is/was one of the best comics. His 'babbling' - or more accuratley, his riffing on a subject was part of his stand-up style (if you'd like to see Godfrey not as a 'babbling' person, but as a (slightly ominous - and funny) character, check him out in THE PRESIDENT'S ANALYST, or in COTTON COMES TO HARLEM. , amongst other appearances.

He's sorely missed, by me and many others who've seen him either on such shows as ED SULLIVAN, THE MERV GRIFFIN SHOW CAR 54 WHERE ARE YOU, THE DICK VAN DYKE SHOW, I SPY amongst MANY other shows. If not, you can see this huge talent's work on YouTube (YouTube's a GREAT resource for educating yourself about not current performers and artists. It's NOT just a place to look at ...cat's playing pianos, and other garbage).

As a glimpse (by a black artist!) into the 'white man's world,' and the world in general - at that time - Mr. Van Peebles should be given his deserved recognition (and Godfrey, we miss you!).

Cambridge does an interesting lob playing a white man turned into a black man, but Van Peebles evidently wanted to make some pejorative assessments of both cultures. The negativity of the film is offset by slapstick and schtik - like the moment of awareness of the transition when Gerber goes to the bathroom in the middle of the night and when he gets off the toilet, a big black rear end fills the screen. The transition, itself, is never adequately explained: recessive gene gone berserk, sardonic God teaching a lesson, who knows?

The sad part of the film is the inability to ever find purchase in the community. Not everyone is bigoted but they are all portrayed as one big cliché. Any normal unbiased people are immediately put off by the reprehensible actions of Cambridge - so there are no friends or allies except of the same race - or more purely - of the same anger.

How nice this movie could have been if Van Peebles had allowed Gerber to rise to the top in spite of everything - to showcase hope instead of futility.

I just rented this DVD and loved it. At first, Godfrey Cambridge was a bit shrill for my taste but I got over it. His comic timing and acting was awesome. The humor was as sharp and cutting as a blade. Like in Sweet Sweetback..., Melvin Van Peebles doesn't go for the obvious commentary on race relations; I loved the scene at the end when the wife admits that she's "liberal to a point." People of color have hit this invisible and unexpected brick wall at one point or another with some liberals. Some of the production value and jagged editing notwithstanding, I was riveted by this film. It's sad how, over 30 years later, how timely it still is in a lot of ways. While I would love us all to get along, I appreciate the honesty and realness the film depicts of what happens when getting along is made impossible when one group dehumanizes another. Melvin Van Peebles does not shy away from showing this, nor does he apologize for or explain it. The film made me re-appreciate him as a real auteur, an adroit storyteller. Damn Van Peebles is good!

"Watermelon Man" might throw off quite a few people with its style of cinema. It's a work of the grandfather of American independent film, Melvin Van Peebles, and with that should come a certain measure of respect. Van Peebles may not have produced dozens of films, but he certainly turned the industry on its head 30 years ago. This is an interesting arrangement on the business side- hot off the European success of "The Story Of A Three Day Pass", Warner Brothers takes on filmmaker Van Peebles for a feature film. The story of Van Peebles versus the company in filming is a conte in itself, but the film remains poignant and striking in its cinematography and theme. Aggressive editing of both film and musical inserts highlight the subtle comedy and pure desperation of the story of a bigot who wakes up Black and watches the world turn against him.

It's something of a manic ride, but Cambridge gives it all the human character it can stand. His antagonist-cum-protagonist role gives you 360 degrees of frustration and forced humility. Van Peebles presses the more unreal moments into a sub-psychedelic form. Printed messages, color fills, choppy eye-effecting shots and that insistent score remind you that this absurdity is all too real. But ongoing themes such as "He stole something.. we don't know what yet," are darkly hilarious as is Cambridge's sharp wit.

"Watermelon Man" is serious film that will still make you laugh at times. This is not the kick-in-the-establishment-a** that "Sweetback" is, but it's an important step on the way. Alongside films such as "Cotton Comes To Harlem" (also with the superb Cambridge) and "Putney Swope," this is an important part of the early end of the Black film explosion.

Look for cameos by songwriter-actor Paul Williams as an employer and Melvin Van Peebles himself as a painter. Black cast staple (and director of "Dolemite") D'Urville Martin is also on hand as a bus driver in some of the film's funniest scenes.

I'd only seen "Watermelon Man" on late nite TV as a kid, obviously cut to hell, but the film always fascinated and disturbed me. I haven't seen it in literally 20 years yet I remember very specific scenes, particularly the amazing militant final scene. I finally picked up the beautiful DVD and my memory was correct. The movie is awkward in spots, but there's a vitality that pushes against the old-school studio vibe. And it still holds up as funny in many scenes. I like some of Peebles music cues although they are sometimes not apropos. There are some strong scenes dealing with suburban racial tensions and Godfrey Cambridge is terrific as he changes from a white bigot to a black man. The movie isn't as one-sided as some might think. One of my favorite films of the 70's. Check it out.