How to Get the Man's Foot Outta Your Ass

It's a real shame that mediocre indie films, such as "Open Water" and "Napoleon Dynamite," get tons of publicity while a gem like "Baadasssss!" goes unnoticed.

Director and co-writer Mario Van Peebles affectionately, but truthfully, chronicles a fictional telling of his father, Melvin Van Peebles' attempt to make "Sweet Sweetback's Baadasssss Song," modern black cinema's groundbreaking film, which was compulsory viewing for the Black Panthers and paved the way for countless black actors, filmmakers and film technicians. The Spike Lees, Ernest Dickersons, John Singletons and Wayanses owe a huge debt of gratitude to not only what Melvin accomplished 33 years ago, but also how he did it.

Mario Van Peebles' previous directorial efforts, "New Jack City" (1991), "Posse" (1993) and "Panther" (1995), showed potential, but were mired in clichés and turned out to be rather forgettable. That's not the case with "Baadasssss!"

This is an exciting, funny and moving film about one man's zeal to make the movie he wants to make. Melvin did not want to kowtow to studios and was fed up with how blacks were portrayed in Hollywood movies. So he set out to make a movie where the black man fought back, then went on the run and got away. And he did it with an ethnically diverse crew (which was unheard of then), many of whom knew little or nothing about movie-making.

"Baadasssss!" brilliantly illustrates Melvin's struggles, including pretending he was shooting a black porno film to hide his real intent from the crafts unions, running out of money, losing his vision in one eye and finding a distributor for "Sweet Sweetback."

Mario shows a deep sense of love and respect for his father's achievement. But Mario definitely doesn't sugarcoat his depiction of Melvin. The Melvin we see in this film is a driven, obsessive man who loves his friends and family deeply, but won't let anything or anyone stop his film, including the weekend jailing of his crew. Mario's reluctance about being forced to be in a "sex scene" in his dad's movie is one of the film's highlights. The moment works thanks to a nicely subdued and thoughtful performance by Khleo Thomas as the young Mario.

Mario Van Peebles and Dennis Haggerty penned a smart, energetic script. They add a nice undercurrent to the story by creating a father-son dynamic, which adds a layer of surprising depth to the story. Mario Van Peebles so completely immerses himself into the role of his father that we forget we're watching Mario play Melvin.

Where the script falters is in its over-reliance on voice-over narration used to to convey Melvin's thoughts. It works sometimes. But it also seems obtrusive. For instance, Melvin's thoughts about the contents of the props drawer aren't needed because we're smart enough to know how dangerous or funny it could have all turned out.

"Baadasssss!" is as much about Melvin's passion to make his influential film as it is about the importance of maintaining one's integrity. Just as Melvin didn't compromise his story, Mario, too, apparently held out and refused to compromise. Producers wanted him to make the film more acceptable to "a white audience" or toss in some hip-hop. But Mario didn't relent and made the film he wanted to make.

The paradox about this film about the making of a film is that while Mario's movie is technically and cinematic ally superior to Melvin's seminal film, "Baadasssss!" ultimately isn't as politically, socially or historically influential as the film it chronicles. Nevertheless, for anyone interested in movie-making, "Baadasssss!" is a must, along with the documentaries, "Hearts of Darkness: A Filmmaker's Apocalypse" (1991) and "Visions of Light: The Art of Cinematography" (1992). "Baadasssss!" is one of the best and most enjoyable films ever made about film-making.

Man this one was awesome,the movie just blew me away!As a black man and a movie buff i always knew about melvin van peebles and his great contribution, not just to ethnic filmmakers but to all entertainment as a whole.This man was 1 of the pioneer who truly changed entertainment as we know it.Filmmakers of less talent and courage get credit and attention while a man of true importance gets ignored.This was one of the most inspirational movies i have ever seen(view from the top was another)if you have a dream,i don't care what it is, this movie will make you want to push to the max to achieve it!great movie check it french

Aw, damn. We can't make fun of Mario Van Peebles anymore. Always something of a laughing stock (despite a few good contributions, like a good performance in "Ali" and directing "New Jack City"), Mario Van Peebles has made himself instantly much cooler by making this fun and suitably chaotic film, which chronicles the making of his father Melvin's landmark film "Sweet Sweetback's Baadasssss Song".

I've never seen that film, but from what I understand it's not exactly great, but was revolutionary for existing at all. It's about a black man "taking it to the man" and actually getting away with it, which was unheard of at the time.

Mario plays his own father, and "Baadasssss!" certainly doesn't candy-coat it. Melvin was essentially a good man, but could be incredibly cold and mean, and to his own family, and the film shows that. It also takes us back to the notorious scene in "Sweetback" where Melvin used his own 13 year-old son in the scene where the the titular character loses his virginity. This scene was difficult and uncomfortable for everyone involved, EXCEPT Melvin, which is telling.

The movie is swiftly paced and stylish, but I couldn't help feeling that it could be a little better. It feels a little messy and disorganized at times. Still, good stuff.

I can't begin to say how great this film is, and how much it meant to me. I'm not a big fan of some of Mario Van Peebles' work, so to me, this is by far his best job, acting and directing. He captured the power and the struggle of fighting for a dream/vision, and he made the audience take the journey with him. In fact, this film renewed by interest in the original "Sweetback ..." and made me appreciate the original film to a much greater degree. I saw this film on it's opening weekend, and I pre-ordered it as soon as I found out it was coming to DVD.

Essentially, Mario plays Melvin (his father) while he was creating the independent film classic, 'Sweet Sweetback's Baad Asssss Song'. We watch as Van Peebles struggles with family, "the man" and his own personal demons to complete a film that, by all industry models, should not have been made. It was black, sexual, political, and there was barely enough money to get it off the ground. But Van Peebles was a bad mother{watch your mouth}, and he was determined to make it anyway.

If you are a filmmaker, put this film in your "must see" list. If you are struggling to build a business, follow a path less traveled, or go for any dream that seems almost out of reach, this film is also a must see for you. And, if you just want to see the power of passion, and see what a person can do on too little budget with too little time when all he has to make up for the deficit is his heart, see this film! (That last comment was about Mario, but it is also apropos for Melvin, the subject of this film).

There is nudity and strong language in the film. I mention that because I wouldn't want to send anyone to a film that might offend them without forewarning. That said, see this film!

There have been many movies, usually bittersweet comedies, about movie-making with the director as the put-upon ringmaster of eccentrics, like Truffaut's "Day for Night" or "Living in Oblivion," or bio-pics that show the director as eccentric visionary, like "Ed Wood" or "Matinee."

But I think "Baadasssss!" is one of very few to show the filmmaker as a driven artist, more comparable to the intense look at a ground-breaking creator like "Pollock."

Writer/director/producer Mario Van Peebles eerily reenacts how his father Melvin wrote/directed/produced the seminal "Sweet Sweetback's Baad Asssss Song," one of the first indie movies that also virtually created the potent blaxpoitation genre and guerrilla moviemaking; I thought I had seen it back in '71, but as soon as this film started I realized my memory was, embarrassingly, confusing it with Robert Downey Sr.'s "Putney Swope," so now I do need to see the original.

The production design, including costumes and hair styles, exquisitely recreates the era, but the editing and cinematography suck us even further into Melvin's head as he incisively surveys the state of the image of blacks in movies up to that time and story boards his response.

Melvin's obsession to create and complete the film according to his vision and on his terms threatens his health and his personal and business relationships, but we are caught up in his whirlwind and root for him no matter how ruthless and prickly he becomes as the odds get ever longer and more frustrating and he refuses to compromise, taking offense at lame, well-meaning suggestions, for example, that he might get further if he would at least smile. But he everywhere, rightly or overly sensitively, only sees racism and condescension, including when he has to part layers of irony to beg Bill Cosby for help.

Recalling the spirit of Werner Herzog's documentary "My Best Fiend" about his tortured collaboration with Klaus Kinski to portray obsessives in "Fitzcarraldo" and "Aguirre: The Wrath of God," Mario adds layers of Freudian issues as this filial tribute unflinchingly includes the father's treatment of the son on set and off in the original film and unsparingly brings to life everyone around them.

Mario effectively borrows other bio-pic techniques, such as the camera-facing interviewees in "Reds," first by their portrayers, then, next to the closing credits, the real people, concluding with a loving portrait of his father.

Contrary to the original film, which boosted the careers of the fledging Earth, Wind, and Fire, the soundtrack instrumentation here is surprisingly traditional and sentimental.

The Portrait of the Artist can rarely be a Portrait of a Nice Guy and "Baadasssss!" beautifully and honestly shows why.