Sweet Sweetback's Baadasssss Song

After reading some of the comments here, I wonder if we all saw the same movie. Nonstop sex and violence? Sweetback a radical? I don't think so. Sweetback is almost a nonentity who passively goes along with his environment -- ever notice how his hips never move while we has sex? He's hardly a part of the act and his so-called sexual prowess is a construct of the other person. He hardly speaks and is often spoken for, by Beetle the pimp, by the white cops. He snaps at long last and makes a statement against the whole crappy world around him. The transformation he makes is made while on the run, through the agony of always being on the run. I thought the cinematography and use of the choir chanting from afar was brilliant -- showing the world of his soul in painful transformation. Don't think blaxploitation, when you see this -- and see it you should -- but it is NOT a blaxploitation movie. It is mythology in the making.

This is a film that has several things going for it, none of them technical. The idea of shooting a movie with a largely black cast on dark streets at night without any sort of extra lighting is... well, a bad one, and coupled with its mic-in-the-cameraman's-back- pocket sound mix, an awful lot of the first half of the movie is just shy of being incomprehensible. Add in an editing job that suggests somebody was busy talking on the phone during the cutting of several key scenes, and you could have a real patience- tester of a film on your hands.

Thankfully, the mood of the film is positive enough that its deliriously illogical plot actually works in its favour. Greasy kid Mario van Peebles (minus the "van" here) is transformed into strapping man Melvin van Peebles in a meaningful encounter with a hooker, and you can buy it. On-the-lam hero Sweetback is challenged to a duel by bikers, and nobody so much as blinks when he suggests that it should be a duel of sexual prowess... hell, they don't even seem to care that he doesn't need to move in order to drive his women wild. He's even brought back from the dead by the chorused voices of The Black Community, and it all sort of makes sense, kind of.

In fact, it isn't until the very last shot of the movie, when you realize that 90 minutes and change have built up to... well, nothing much, really, except maybe a shred of belief in the power of an act of will, and perhaps the promise of a sequel, that you feel like taking the movie to task for its gaping technical flaws again. Even then, it's made so earnestly that I don't really have the heart to slag it for its ineptly-blocked camerawork and dreadful acting. I've seen much worse from filmmakers who weren't trying to change the world by giving a damn, so instead I'll talk it up by calling it the spiritual ancestor of the basketball-teleportation ending to He Got Game, and pretty much everything in The Matrix, too. That it was largely the work of one hugely inspired guy makes it all the cooler, so struggling filmmakers, take note! As long as you crib your technique from other places, Sweet Sweetback's Baad Asssss Song should be an inspiration to you.

THIS was the first of its genre and i was cast as the *white* deputy who found Sweetback in the woods toward the end of the picture. I felt privileged to be a part of this beginning. I believe it was showtime recently who did a retrospective on black films....it was weird to see what i looked like 30 or so years ago! lol

Considered the first blaxploitation film, Sweet Sweetback's Baadasssss Song features Melvin Van Peebles (who also directed, wrote, produced, edited and did music for the film) as Sweetback, a Los Angeles-area "male prostitute"/"sex performer" (who only has relations with females). He agrees to be taken in to a police station as a suspect just to make a couple cops look good (because they are tolerant towards the cathouse he lives in). On the way, they pick up a Black Panther and start beating him senseless. Sweetback bludgeons and stabs the two cops with his handcuffs (one end is open) and the bulk of the film has him on the run. Can he make it to Mexico before he's caught?

Sweet Sweetback's Baadasssss Song has a lot of historical significance. It is an early independent film in what's considered the current "modern" style, it is one of the earliest mostly black films of its era (there were all black films earlier, such as Oscar Micheaux's work, but they disappeared for awhile), it was controversial (it initially earned an X rating (later changed to an R) and touted that fact proudly as a tagline), it was made for $150 thousand but grossed $15 million, and most importantly perhaps for some film lovers, it is credited with starting the blaxploitation craze in the 1970s. It is worth watching for students of film on those merits alone.

But none of those facts alone make it a good film, and none affect my rating. In terms of quality, Sweet Sweetback's Baadasssss Song gets my vaunted 5 out of 10 rating, which is usually reserved for "so bad they're good" films. Although it is loaded with flaws, as one might expect from a low budget film from the era shot guerilla-style on the streets of Los Angeles, it is a hoot to watch. On the weirdness scale, it definitely earns a 10.

Sweet Sweetback's Baadasssss Song is firmly mired in the psychedelic era. Peebles gives us frequent shots with negative or false colors near the beginning of the film. More frequently, he directs scenes so they have various "altered reality" allusions--time stretching, repeating, stopping and stuttering, bizarre actions and reactions from various characters, rambling nonsense, and so on--which for the viewer approximate the perception of someone who is wasted almost to the point of passing out. These scenes often play like some kind of avant-garde performance art, and are as much a focus of the film as any of the usually cited "political" messages rooted in racially oriented turmoil and disparity. Perhaps the intended theme was that race relations, and the urban reality of blacks to that point were as bizarre as acid trips, some good, some bad.

The music is equally bizarre (which I love), with a recurrent jazz/funk piece with an almost atonal saxophone melody being the unifier. Some of the vocal music is a veritable Greek chorus, narrating action and emotions, providing critiques and so on. Peebles also frequently layers musical tracks, so two or more can be playing at once for a minute or two.

The film is also notable and admirable for its abundance of almost graphic sex scenes and gratuitous nudity. The opening scene is particularly groundbreaking and laudable. Throughout the film, Sweetback is an unstoppable stud, with almost any woman he desires dropping her drawers for him, even towards the end of the film, despite the fact that he has an oozing, infected sore running up the side of his body, not to mention that he's filthy, and he's been drinking mud and eating raw lizards. The ladies still find him hot enough to give him a poke in the bushes. We need much more of this kind of material in contemporary films.

At one point, Peebles and/or director of photography Robert Maxwell appear to have hit the streets of Los Angeles, filming people at random after they asked them if they've seen Sweetback (the character). These shots are inserted into the extended chase scene near the end of the film (2/3 to 3/4 of the film is actually an extended chase scene). The effect is a lot of fun to watch--definitely guerilla film-making at its finest.

But the problems with the film are legion. Maxwell's camera frequently goes in and out of focus (being generous, we could interpret it with psychedelic intent, but I'm skeptical). Night scenes (which are thankfully avoided for the most part) tend to be seas of blackness where a viewer can only occasionally make out enough of an image to piece together the scene in their mind. The sound is awful--I couldn't make out about half of the dialogue (at one point I thought "this is more like watching a silent film"), and it doesn't help that some characters "jive talk"; if ever a film needed subtitles, it's this one. The camera occasionally has a spot, a hair, or some other gunk on the lens. There isn't much to the story; after awhile, it starts to play more like an odd music video. A lot of shots--scenery, cityscapes, etc.--look like they may have been randomly taken by Peebles with his home camera with the hopes of one day using them in a film.

Still, for fans of weirdness and "so bad they're good" films, not to mention any blaxploitation fan with his or her weight in barbecued ribs, Sweet Sweetback's Baadasssss Song is a must see. Make sure you also check out How to Get the Man's Foot Outta Your Ass (aka Baadasssss!), Peebles' son Mario's 2003 film about Sweet Sweetback's Baadasssss Song.

I saw this film on opening night in Philadelphia, Pa. The audience consisted of almost entirely young, Black men (mostly) and women who were obviously active in the civil rights movement,judging by the reactions of the men in the audience when Sweetback gave "the man" his definition of justice - beating the living crap out of them. His methods were quite original - especially with the pool cue. His sexual prowness was the main hit of the film for the ladies in the audience (I admit). The scene that really had me rooting for Sweetback was when he "popped" the white biker chick (in a most original manner) and she practically killed her biker boyfriend trying to join up with Sweetback in his quest. He merely cast her off like a used oilrag, which she was. Hilarious. There was a lot of anger among Black moviegoers at that time, which is why a lot of the blaxploitation films were successful. Our voices were heard loud and clear, especially in films, where our heroes were the victors against racist society and even more racist law enforcement, no matter how grisly, gruesome or violent the methods for dealing with them were. I had the pleasure of meeting Melvin Van Peebles at a screening and lecture of his work shortly after this film was made. His brilliance and genius were even more obvious as this man reflected on his determination to film, release and distribute this motion picture even though "white" America did everything they could to ban it, including slapping it with an "X" rating. I never understood the need for the "X" rating, as many of American-International's horror films were much more violent and graphic than this film (the "X" rating was not because of the sex)yet they were never banned or given that dreaded rating. I highly recommend this film to any student of filmmaking to view it not so much for the subject matter but to see the absolute genius in Mr. Van Peebles' work. Little money had he, but a lot of guts, brains and a wonderful and creative imagination made this film the success that it was.