Wattstax

This is an absolute gem and a richly textured time capsule in so many ways. Growing up making Hip-Hop in the 80's and 90's I used to wish I was a teenager in the late 60's and early 70's just to be around all of that great music. Seeing this movie now has solidified that dream. I should mention the scene when Rufus Thomas comes on and the crowd literally 'bum-rushes' the field in what today would be considered a riot but as the swarm of people descend from the stands to the sound of Rufus's opening number 'Funky Chicken', the riot is a dancing, feel good frenzy! I don't think anywhere in the world in today's society could so many people swarm into a small space like that and there not be any violence. They were just itching to dance and boy did they ever!!! Then, after Rufus wrapped it up he playfully instructed them to kindly move back to the stands and like angels, every single one of them did as requested in unison! OK one drunk guy stayed but Rufus joked with him and then told the crowd to 'go get him' and on cue some of them rushed the field to 'playfully' scurry him back to the stands.

You've really got to see this movie! Very addictive; I watched it three times within a week of first seeing it. Far out and solid!

My all time favorite music film, probably because it shows how soul was about so much more than music. Stirring performances (Isaac Hayes, The Emotions, Rance Allen Group) and hilarious running monologue from Richard Pryor (at his peak). Also some provocative social statements from Watts residents in the early '70s who speak out on race and romance. Catch it whenever you can---no VHS or DVD is available.

This is one great film not only because of the classic concert footage, but because of the fact that the cameras went out into the community and showed how life was and, for the most part, still is in the inner city. Of course, I am a little biased due to the fact that I live in Los Angeles. In fact, the non concert footage could stand alone as a separate film due to the fact that they show various aspects of African-American life. Also, it is quite sad to see Richard Pryor in this film. This was before the years of abuse began to take their toll and probably helped contribute to the Multiple Sclerosis, which would contribute to his death years later. However, the concert footage is what pushed this film over the top, especially the footage of Issac Hayes. You pretty much could see why he was inducted some 30 years later into the Rock and Roll Hall of Fame. This not only a great concert film, but a great commentary Black America.

This is not just a concert film; it's a documentary about African-American life in Los Angeles in the early 1970's. The concert is to commemorate the Watts riots of 1965, and some of the positive changes that took place in the area. Although there is a lot of humor to be found in some of the comments that the residents make about changes in their area, it's sad to realize that the lingering problems of racism and unequal opportunities still exist to this day. However, there's a lot of joy and hope expressed throughout the film. This is one of Richard Pryor's earliest appearances on film, and he is pure genius. Ted Lange ("The Love Boat") and Raymond Lewis (Woodrow on "Sanford and Son), are some of the Watts residents who give their thoughts about the political changes. Thespian couple Ossie Davis and Ruby Dee can be glimpsed in the stands during a quick shot.

All of the musical performances are solid. The movie opens with The Dramatics' "What You See Is What You Get" which serves as a commentary on Watts itself. Some of the musical acts perform away from the concert area. The Emotions do a heartfelt rendition of the gospel song, "Peace Be Still", in a local church and blues great Little Milton does a classic, "Walking The Back Streets Crying" while sitting near a railway. The late, great Johnny Taylor sings "Jody Got Your Girl and Gone" to a nightclub audience populated by players and hustlers in full regalia. Back on the concert stage, Rufus Thomas appears in an outrageous outfit and mixes comedy along with his music. The Staple Singers, The Barkays, Carla Thomas, Kim Weston, Albert King, Rance Allen please the audience. Issac Hayes caps the night off when he struts in to the "Theme From Shaft" and The Rev. Jessie Jackson gives him a king's welcome.

I saw this film during the Chicago International Film Festival this year, and afterwards, the director, Mel Stuart, explained that legal entanglements continue to keep this film from being released on video. That's a shame, because this film is an excellent time capsule of a piece of 1970's culture.

This rarely seen gem has Richard Pryor running on all twelve cylinders, stashed in a Watts bar, rapping with his buddies, the high point of a fascinating unvarnished view of ghetto life that slid down a black hole. This is one of a kind.