Claudine

This well crafted film stands as an " American classic" in every sense of the word .We have the images of an Afro American family long before Cosby made it fashionable.And this film has the details which make it grittily realistic and believable .Oh! how I love those genuine NYC locations .Though made not so long after the civil rights era peaked, it dose'nt seem dated at all.The cast remarkable ,one must ask what became of these kids.The direction flawless ,James Earl is such a mighty presence in films and here he is young and strong.Watch him fight against the racist system .No doubt this is a movie for everyone no matter the race ,and what is color any way ?? I had seen this a few times but only recently obtained the videotape through sources that I found in the area .We really need more movies like this ,genuine wit , intelligent ,and touching emotions ,maybe our society would be a little better place.

An important film in its day, it still holds up well. Claudine was one of the first mainstream American dramas to deal with the struggles of urban poor African-Americans without exploitation, violence or exaggeration on one side, or sugar coating or soft peddling on the other. It has sadness, anger and heartache, but also joy, love and humor. It has two smashing central performances by Diahann Carroll as the mother of six, trying to survive on welfare and an off the books job as a housekeeper, and James Earl Jones as a very charming garbage man who woos her despite the risk their getting together could cut her welfare payments.

Carroll is a wonder. One of the most beautiful actresses of her era, here she manages to be believable as an over-worked, under loved mother in the ghetto. Equal parts pain, pride, vulnerability, smarts and strength she was one of the first African Americans to get an Oscar nomination in a drama. Jones does some of his best film work. Always a great of the American theater, in his early films Jones often came off as too theatrical, larger than life. But here is he subtle, sly, complicated, and very sexy. The young actors playing Carroll's six children are uniformly excellent, often a weak spot in a film like this.

There are problems; some plot turns are predictable, some moments feel a bit 'Hollywood', some of it feels awkwardly dated. But much of it is as relevant as ever, and not afraid to be upsetting and angry along with it's gentle comedy.

Two notes, while often marketed as a 'family' film, this deals with sex and nudity in an honest and realistic way, and it's language is salty and true. Also, sadly, the only available DVD is full screen – too bad since the film was quite nicely shot in its gritty way.

If this film is examined closely, it's a bit sad. It is detailed enough to touch upon very real problems children, who grow up in poor, dysfunctional environments. Yet, it retains it's comedic value, with spirited performances by Diahann Carroll and James Earl Jones. The sadness lies in the struggles and dysfunction of the mother (Carroll), who cannot truly help her children, not because she doesn't want to, or try, but because, it's obvious she doesn't know how. Remember, this is a comedy, but if you've never seen this, or if you have, watch this film and see the humanity, in the characters. Good film.

Calaudine (Diahann Carroll) is 36, unmarried and has six children and is trying to raise them all on welfare. Garbage truck guy Roop (James Earl Jones) starts romancing her. Her kids don't trust him and she doesn't trust herself. This movie chronicles how she deals with her relationship with Roop and how to deal with her six kids--two who are teenagers and starting to fight back.

I've never even HEARD of this movie until FXM showed it one night. It seems to have disappeared and that's too bad. It's easily got to be one of the most honest and accurate portrayals about growing up poor and black in the city. I'm not black but I've read books on the subject and had some friends who lived like this and this movie hits the subjects right on. Also this is one of the few movies where the kids act and talk like kids--not like little adults. The language is strong (there's plenty of casual swearing and sex talk) but that's how people act and talk. Also this film doesn't shrink from Claudine and Roop having sex--it presents it in a matter of fact way. The script is OK but tries to cover all the bases of being poor and struggling with kids--that's WAY too much for one movie. Also it seems to pile one disaster after another on Claudine. It's gets to be overkill. I also didn't buy the happy shots during the closing credits. Still this is an exceptional movie that seems to have fallen between the cracks. The acting is great--Carroll and Jones are so young and full of life and energy. Carroll was nominated for an Oscar for this film. Also, among her kids, is Lawrence Hilton-Jacobs who went on the star in the TV series "Welcome Back Kotter".

I do have to point out that the language is STRONG in this one and it has flashes of nudity (female). It wouldn't get a PG today--it would get an R. Still it's just being honest and there's nothing wrong with that!

The 1970's saw a rise and fall of what we have come to know as "Blacksploitation" Films. The term is a reference to kind of broad catch-all, rather than a true Genre of Film. In short, any comedy, drama, adventure, western or urban cops & robbers shoot-em-up, that are so constructed and so cast as to appeal to the large Urban Black population of the Mid 20th Century. That indeed could embrace the widest type of films, as long as the had a slant toward the inner-city black population.

It appears that the idea of producing these films of particularly keen interest to Black Americans had its genesis with the Eastertime Release of 100 RIFLES (Marvin Schwartz Prod./20th Century-Fox, 1969). In it, former Syracuse University All-American Footballer and Several Times All-Pro Fullback for the Cleveland Browns, Jim Brown, had a Co-Starring Billing. Having appeared in a number of films already, as for example, RIO CONCHOS (1964),THE DIRTY DOZEN (1967), (ICE STTION ZEBRA (1968)* and others, it was beginning to make more sense to the Studios' "Suits" that Jim was a hot property.

Now this 100 RIFLES brings record numbers of Black patrons to the Big Cities' central business districts on Easter Sunday to view Mr. Brown. Why not start to film more of these adventure epics and other types of film with more Black Players and Stars? Why not, indeed.** So we saw a succession of Cops & Robbers, Bad-ass Private Detective Films, Comedies, all going the route. Along the way, we eventually got to some more family oriented, wider appealing films. The movie goers were treated to SOUNDER (1972), THE TAKE (1974), CONRACK (1974)and, ultimately, CLAUDINE (1974).

In CLAUDINE, we find no stigma nor easy classification as being "Blackploitation", as the story is universal, and could easily have been done as a story about people of any descent, any where, and not just in the 1970's USA.

That the story was done of a SINGLE mother, Claudine (Dianne Carroll), struggling to keep a family together after "....two marriages and two almost marriages.", is a far cry from a shoot-em-up Harlem Style. The problems that plague the everyday citizens of our nation are confronted and examined under the ol' sociological microscope.

But we also consider Claudine's psychological and physical needs as a female. For "Woman Needs Man and Man Must Have His MATE",***and we do concede this point. (That's S-E-X that we're talking about, Schultz!) Claudine meets up with a very masculine, broad shouldered, athletic type in Private Scavanger Garbage Man, Ruppert B. Marshall (James Earl Jones) and they go on a date.

The Great Welfare State intervenes with the Couple as Claudine's Welfare Case Worker, Miss Tayback (Elisa Loti), comes snooping around to see just who is this unattached Male, who is suddenly paying so much attention to Claudine's family.

After a humiliating experience with the Welfare Bureau's auditing and "deducting" binge, which would be the norm for the family, the two decide to get married with or without the blessing of Big Brother.

Meanwhile, Claudine's elder son has gotten involved with some big talking but little doing Black Activist group. But, with Ruppert's help, he and they all come through it A.O.K.

It ends on a Happy, Upbeat and Hopeful note. We know that it may not be exactly "...Happily Ever After!", but rather the'll make it all together! If there is a single criticism that we must state it is that sometimes in a movie like this, a misconception is spread to a large portion of Urban Blacks. And that is, the apparent implied myth that all Whites are wealthy, having none of their kind ever in need of a helping hand, out of work or suffering any disabilities.

Well, folks, it just ain't true! NOTE: * At one point, Jim Brown's career was a real hit as a rugged actioner. He was even being tauted as "...The Black John Wayne." NOTE: ** The idea of producing films with All-Black Casts, filmed for All-Black consumption was not a new idea. In the 1920's, '30's and '40's, we saw productions from people like Noble Johnson, Spencer Williams, Jr. and Rex Ingram.

NOTE: *** That's "As Time Goes By", you know, Schultz, it's from CASABLANCA (Warner Brothers, 1942).