Trick Baby

Based on the novel by Robert Beck (who uses the truly awesome pseudonym "Iceberg Slim"), this is a very fine crime drama, set and shot entirely in Philly. Mel Stewart ('Scarecrow and Mrs. King') and Kiel Martin ('Hill Street Blues') are engaging as a black veteran con artist and his supposedly half black protégé. They are generally successful at their trade, but they end up buying trouble for themselves when one of their marks turns out to be the uncle of a mob boss. (Naturally, the mobster wants revenge.) They also get mixed up with a crooked detective (Dallas Edward Hayes), and try for a hefty payday with a shady land development deal.

While at first glance, this might *seem* like blaxploitation, it isn't really. It's more of a modern urban predecessor to "The Sting" with an integrated cast. It's fundamentally an entertaining story, well told by co-screenwriter and director Larry Yust ("Homebodies"). It's violent, but not violent enough to turn off more squeamish viewers, and it's sexy without ever becoming overtly sleazy. It benefits a lot from the Philly location shooting, and the story keeps you hooked, wondering what will become of our anti-heroes. "Folks" (Martin) does worry that they are getting in over their heads, and urges "Blue" (Stewart) to try to leave the life. Blue, however, is much too enticed by the prospect of what waits for them inside a safety deposit box.

"Trick Baby" (the title refers to people such as Folks) has some very enjoyable dialogue, and solid atmosphere. At the heart of the film is the excellent chemistry between Stewart and Martin. Hayes is superb in support, and there's an appealing supporting performance by the sexy young Vernee Watson ('The Fresh Prince of Bel-Air') as Blues' much younger wife. Future 'Love Boat' bartender Ted Lange plays a pimp, and Thomas Anderson & Clebert Ford make the most out of their brief appearances. The music by James Bond is as delightful as any you'll hear in the blaxploitation genre.

Well worth a look for any lover of movies about con artists.

Eight out of 10.

An interesting, extremely well-performed little movie about a pair of Philadelphia con artists who get more than they bargain for when they cross swords with a corrupt cop and the local Mafiosi.

Trick Baby begins well and builds up midway to a terrific foot-chase through the seamier side of the city. In the second half it starts to run out of steam and becomes a little predictable. Things are bogged down especially by a lengthy scene involving a preacher, who is the only character that strikes a false note. In spite of this the movie never loses one's attention completely. The cast down to the supporting players is excellent: Beverly Ballard particularly shines as a woman used and abused by slick operator White Folks (Kiel Martin) and Dallas Edward Hayes does terrific work as the ruthless and relentless cop.

The use of locations is terrific, and the movie has a rawness and immediacy utterly missing from thrillers today. Minor reservations aside, Trick Baby is well worth a look – 8/10.

Frankly, this film bowled me over. Do not think of blaxploitation but of one of David Mamet's better movies or Federico Fellini's "Il Bidone". It is perfect in every sense of the word. A good, concise story, thrilling from the first second to the tragic ending, unforgettable dialogue, artful location shooting in Philadelphia, interesting editing, fabulous performances by largely unknown actors and a character that should enter the annals of great screen heroes: The hustler and compulsive liar Blue Howard, brilliantly played by Mel Stewart (actors got Oscar nominated for less).

Trick Baby starts with a beautifully minimalistic setting - a stage really for a con trick: In a dreary hotel room that has seen better days, Blue, an elderly African American, prepares the setting (screwing off light bulbs, distributing full ash trays). Then he receives his young partner White Folks ("he ain't white, he just looks it", insists Blue) who accompanies an old white man. Blue plays the part of a hard pressured hustler who has some stones to sell, White Folks the part of the tough guy representing a possible buyer, keeping the price low by menacing behaviour. The old white man falls for it and buys the stones - actually junk - for 10000 dollars.

Luck begins to change soon after that, and Blue and White Folks have to use their talents to keep alive. This does not prevent them from pulling a few con tricks in between. It is convincingly shown that they are actually addicted to it and instinctively spot a good opportunity every other minute. Lying by telling stories that are untrue is presented as an art form and as a strategy to get some meaning out of life. This is done in a moving way and less sarcastically than Mamet usually does. Blue does not hesitate to tell a preacher spontaneously an elaborate story about a fugitive from Down South he has to rescue in order to get the preacher's help - and you can observe how the desparate Blue draws life force from his very telling this lie (you need a lot of acting talent to convey this).

Although Blue and White Folks operate as a pair, Blue is the main character of Trick Baby. He is the leader of the team. He shows fatherly feelings towards his young partner who Blues claims is the son of a black mother. Blue feels responsible for White Folks when things turn ugly. It is Blue who tries to rescue White Folks who got wounded. He cons himself into an optimistic mood up to the tragic end of the movie and does not give up until his heart stops beating - which makes Blue Howard a hero in a twisted sort of way.

This is not a blaxploitation film. Based on the novel by Iceberg Slim(apparently a "trick baby" himself),this is an interesting and original twist on the con man theme. And yes,it could have influenced Mamet. The con men, their relationship with Dot(Dallas Edward Hayes) and the real estate swindle bring to mind Mamet's House of Games and Glengary Glenross. Trick Baby contains serious social and moral implications that make it more akin to Felini's Il Bidone(The Swindlers)than to either Skin Game(71) or The Sting(73). The basic problem for me is that the plot doesn't build from the character and milieu established in the first half of the film. The second half becomes somewhat typical,sacrifices characterization for action,and meanders. The scene with Reverend Josephus, goes on too long and kills the momentum. One of the stings, involving a man and a deliberately dropped wallet is confusing because it's not clear how the con works. Kiel Martin and Mel Stewart never break character,work well with and against each other, and Hayes is terrific. The rest of the cast varies in quality. The settings and locations are evocative and well-chosen. Larry Yust's direction, like the editing, is not consistently good. An interesting and watchable film that deserves more attention. Let's hope for a DVD release.

Two con-men in Philadelphia by the name of "Blue Howard" (Mel Stewart) and "White Folks" (Kiel Martin) find that they may have gone too far when they conned an older white man out of $10,000. What they didn't count on was the man having a heart attack and being the father of the local mafia godfather. Yet instead of lying low or possibly fleeing the city both Blue and Folks decide to continue in their trade. Anyway, while not necessarily as good as some of the other "blaxploitation" films of this particular time it managed to pass the time for the most part. But that's about all I can say as there really wasn't anything spectacular or memorable about it. For what it's worth though I thought Vernee Watson-Johnson (as "Cleo Howard") looked nice and probably should have been given a bit more film time. But that's just my opinion. In short, I suppose it deserves an average rating.