Hollywood Shuffle

Robert Townsend comes off like a real troublemaker in 'Hollywood Shuffle", an incisive and often hysterical indictment of typecasting in Tinseltown. It's made on a shoestring budget, and that shows in the production values - but who gives a rip about that? There's always a cheesy gag waiting around the corner and that levity is what makes this so fun. It's the delivery that's a real stroke of genius; the message is couched in harmless (and hilarious) movie parodies . Townsend's spoof of Siskel and Ebert (Sneakin' in the Movies) alone is worth the price of admission.

Yeah, I'd say this has held up nicely. It's great stuff.

7/10

by Dane Youssef

Movies in general are so formulaic that even most independent films are pretty routine and by-the-numbers.

Maybe that's why "Hollywood Shuffle" feels so refreshing, like a much-needed change of pace. Most indies are made almost entirely by hand---one man writing, directing, producing (hey, they need every single spare cent they can get their grubby hands on) and this one is no exception.

Townsend wears all the indie hats here… and he wears them proudly.

This is the film that introduced the world to Robert Townsend. Well, that was it's whole purpose. Like "The Brother McMullen," this star-vehicle was written and directed by Townsend about his dream to make it as a professional actor, trying to break into Hollywood, while at the same time, trying to over-come the cruel limitations mainstream Hollywood has set up for black people who want to act... and actors, in general.

Whereas the '70's was the birth decade of the blaxploitation, so many of them were just cheap, cheesy, corny knock-offs of popular white films. Blaxploitation got more blacks into films, but the films themselves weren't really about anything. "Hollywood Shuffle" is a Blaxploitation film that really has something to say... that has an agenda.

There is so much burning talent, so many struggling entertainers wanting to make something of themselves, that Hollywood can afford to treat the auditioning talent the same way a really strong cleanser treats germs.

Townsend's efforts to make this movie are inspiring--he borrowed every dollar he could, asked for movie footage that was left on the cutting-room floor, called in every favor he could, threw everything he had and more to get this one made.

To tell his story, get his foot in the door... and at the same time, tell a story about what this kind of life is like. For those with talent who dare to dream big.

Greats Keenan Ivory Wayans and John Witherspoon have bit players as people who work at a hog stand in the neighborhood who don't ask for much out of life... and don't get it. They're the kind of cynics who believe, "You're a fool for following your dreams."

When you near the end of your journey in this world, you really fully understand the meaning of the old phrase, "Nothing ventured, nothing gained."

Townsend interlocks a variety of skits with this all-too autobiographical tale, all of which are pretty funny and inspiring. You have to admire the way that Townsend wants to put out some legitimate roles for black actors to play and black actors to idolize. But most of his skits go on too long after the point has been made and there are quite a few moments that feel like someone (Townsend obviously) should have punched up. Townsend is a far better actor than he is a writer/director.

Perhaps because he is only a filmmaker by necessity for this one. He's more interested in using this to make up of all those dream roles he never got to play and showing his chops as an actor than really making a great movie.

There's a scene where he takes-off "Siskel & Ebert"--before everyone started doing it. Almost all the skits (where Townsend is fantasizing his dream roles as an actor) go on way too long, probably because Townsend is far less concerned with how funny the skits/movie is and more interested in using this movie to play all the dream roles he never got to before.

Every actor is perfectly cast, especially Townsend himself. It's great to see him playing all these roles you know he's always dreamed of doing (he plays them while his character actually IS day-dreaming).

The movie captures the struggle of the out-of-work actor just right. We see lines and lines of actors warming-up, rehearsing their roles, going into the audition... all to hear, "Thank you, next!" But some blessed, precious few are picked.

But those that are black are given racially-biased drivel to perform. Ethnic caricatures that shame and set back their race. Brothers and sisters who talk like stock characters from the slave era, wearing redneck farm clothes, picking cotton, eating chicken and getting stinking drunk. Townsend tirades many black archetypes, most of which went out of style around the same time as black-face. Lil' Bobby obviously wants to say something about the way the brothers and sisters are treated in the biz. There are some moments here you'll roar with laughter at, as well as put a lump in your throat and a strange feeling of hope and pride.

Like many other breakthrough films, especially independents, "Hollywood Shuffle" was another arrival of a fresh new talent. It happens as often as the rise and setting of the suns, but here is a film where it feels a little more special… because Townsend was really about something. You can see it here, not only in some of his satirist scenes, but some of the quieter moments where real drama in brewing and dreams are at stake.

We see where Townsend is asking himself if he's good enough, if he face the whole world (which is how it is when you're struggling to make it as an entertainer… or in life) and when life-long happiness is at stake. It almost hurts. And at the end of it all, when we wonder for Townsend's character, Bobby's sake… what will become of him? And then we realize we already know. We just found out.

It's like looking in the sky at the stars like you always do… and then there's a brand-new star shining in the night sky, standing out just a little bit bigger than the others. Haven't seen that one before. Hey, is that a new one? Couldn't be, could it? I don't remember… there are so many. Another star is born.

Or made.

--Love (or Like), Dane Youssef

The main way it is dated is that Robert Townsend does so many parodies of early 80s movies that are somewhat forgotten that younger viewers may not know what he is talking about. But the main message of the film comes through loud and clear - that African Americans do not have an easy time getting dignified roles in film. And think how much truer that was in 1987.

Townsend plays an aspiring African American actor, Bobby Taylor, who spends all day at auditions where he is told by a committee of white people that he is "not black enough", and to come back when he sounds "black enough". And the parts are all for gangsters and pimps. Bobby aspires to play a black Superman someday, or some other dignified and heroic role, but things are not looking up for him to get that kind of a part.

Meanwhile he does have a day job at "Winky Dinky Dog", a hot dog stand where his coworkers tell him to forget this acting dream and pay attention to his "actual" job and "actual" opportunity there. Serving fast food. You have to see the hats with hot dogs sticking out of them. Hilarious.

Bobby is a prolific day dreamer, and this helps pad the plot with some very funny satirical skits including a take on Siskel and Ebert's old film review show, except this one is called "Sneaking Into the Movies".

I haven't found this one on streaming or cable lately. Maybe folks would be offended without some context. Many people have been asking why there isn't more African American cinema in the boutique label Criterion collection. Many have discussed adding "Moonlight", which isn't a bad idea, but if part of Criterion is introducing people to new films, why not add this to the collection? It's not that well known anymore. Oh, and people often say, why is the DVD so bare? Why no commentary track? The reason is that Robert Townsend, who directed and wrote this film as well as starred in it, had to put the entire thing on a credit card. No studio would back it. So I'm sure he wasn't about to lay out any more dough for a commentary on a project he wasn't even sure would succeed.

This one is worth seeking out. I'd recommend it.

Robert Townsend's independent debut is a light-hearted farce that explores the struggles of black actors of Hollywood. But the issues that the film could be applied to talented folks in any field who are prevented from reaching their full potential because of stereotypes.

Many of the cast were unknowns at the time but they did an excellent job in the various skits. My favorite is the parody of Siskel and Ebert's TV show, where two street hoods sneak into the movies to give their own rather unique reviews. Amadeus is slammed by the amateur critics because "the movie's title is too hard to pronounce" while a movie about Zombie Street Pimps is given the thumbs up, because of the attention to detail. This is typical of the kind of humor employed throughout the movie - Townsend takes a racial stereotype and turns it outside out, making us think and laugh out loud at the same time.

I wish more directors, black or not, would follow Townsend's personal, self-effacing approach to movie-making but I guess it's easier to produce yet another violent shoot-em up or special effects showcase. Oh well.

As a black man and a longtime movie fan, it angered and frustrated me as to how blacks were stereotyped and exploited in Hollywood over the years. This was especially true during the first half of the 80's when I saw talented actor like Larry Fishburne play a hoodlum in DEATH WISH 2, Wesley Snipe play a hoodlum in WILDCATS and Mario Van Peebles play a hoodlum in EXTERMINATOR 2. Of course they've gone on to bigger, and totally unexpected, better things. That's why this satire hit a nerve with me. The one scene that sticks in my mind are the audition scenes where blacks audition for demeaning roles casted by clueless white producers and directors trying to tell blacks to act the way they think blacks should act (ain't that a blip!) and looking for an "Eddie Murphy type". The script, co-written by Townsend and co-star Keenen Ivory Wayans is accurate and on the money. While Wayans has sone on to better things (IN LIVING COLOR, I'M GONNA GIT YOU SUCKA and SCARY MOVIE), Townsend has not been so fortunate (The uneven THE FIVE HEARTBEATS, The lame TV sit-com THE PARENT 'HOOD and the godawful B.A.P.S.). The film also features Helen Martin, Damon Wayans, Anne-Marie Johnson and John Witherspoon. If you a fan of on-target satires, I strongly recommend this movie.