That's the Way of the World

While Earth, Wind, & Fire appear in this movie and their music-particularly the instrumental parts of "Shining Star" and the movie title song-are showcased, it's not about them at least not all the way through. They play The Group which is record producer Harvey Keitel's passion project. But his major record company wants him to drop them to concentrate on a supposedly wholesome family act called The Pages. Keitel's character really doesn't want to but he's told he has no choice. So he does what he can to make them sound good while also getting involved with the female lead singer Velour (Cynthia Bostick). She's really into him while he's keeping his cool much of the time. I'll just now say this was quite compelling dramatically and while it threatens to get explosive, it's not blisteringly so. So I say give That's the Way of the World a look.

One of those movies that you don't hear a lot about, and it's not bad, really, for a music group's outright propaganda piece: herein promoting the soulful funk/disco outfit Earth, Wind & Fire. And with Harvey Keitel as a sane version of record-producing phenom Phil Spector, this should've been a goldmine... or at least silver...

But the problem with THAT'S THE WAY OF THE WORLD is it spends too much time on an uninteresting romance between Keitel's Coleman Buckmaster and the lead singer of a white milquetoast singing trio, who have as little talent as Earth, Wind & Fire's fictional band The Group has soul and motivation...

Sadly, we only see the latter jamming twice: the best during an opening credit sequence liken to, say, a car racing flick with a line of rod rods revving at the starting gate as The Group warms up each instrument with funky delight...

Then when Keitel's given the task to instead record a single for the other outfit, called The Pages, the ingenue alone is the best thing going: But mostly for her looks: think exploitation starlet Angel Tompkins had she joined The Partridge Family...

Introducing Cynthia Bostick as one of those progressive 1970's women who says what she means and holds little back, acting like cocky go-to dudes did in the 1950's while making the producer/artist courtship anything but subtle, or intriguing. She practically throws herself into Keitel's arms, and there could have been some worthy sparks flying, especially in the recording studio where things go way too easily for both...

As an actress, Bostick only has three credits to her name (the rest on television). And ironically, the only other potentially great character is played by a tough looking Italian with this his sole effort, named Charles McGregor, as a mobster-like industry mogul, who seems more fitting a movie where a far too subdued Keitel would have fit much better. He has a way of making threats without saying much to his sellout underlings Michael Dante and Ed Nelson, both repeating the exposition/plotline mantra: that Keitel's "Buck" needs to think about money over artistic integrity...

So it's that much more frustrating for Earth, Wind & Fire not having a more active part, musically and otherwise, and it seems like Maurice White and company were ready and willing: this could have been their very own ROCK AND ROLL HIGH SCHOOL, and four years beforehand.

Ultimately, a fantastic twist end explaining how Keitel bedded down the ingenue so quickly, and without any obstacles, makes up for the slow, uneventful buildup. But overall, as an attempted realistic/edgy glimpse into the music industry, THAT'S THE WAY OF THE WORLD simply doesn't pay enough dues.

This film was featured on the Decades You Were Born in 1970s. While the film could be forgettable, Harvey Keitel stands out as Coleman Buckmaster, a New York City music producer. The film has a largely forgettable storyline and romance between Coleman and Amanda. Coleman's entire life was dedicated to music. He goes to a party with music industry people. He wants to promote his group over a lily white singing group from Florida. His relationship with Amanda grows from their first meeting. The film is satisfactory overall. I enjoyed seeing New York City in the 1970s. Other then Keitel and Earth, Wind and Fire, I don't see many familiar names in the cast. If you're a devout Harvey Keitel fan, you will see this film as his breakout as a leading actor.

I haven't seen this film since it came out in the mid 70s, but I do recall it as being a very realistic portrayal of the music business ( right up there with Paul Simons "One Trick Pony " ..another vastly underrated film IMO )

Harvey Keitel does an excellent job as a producer caught between the music he believes in , and the commercial "tripe" the record company "suits" want him to work with.

Since I spent my entire career in the music business as a composer /arranger /producer, I can really vouch for the verisimilitude this film possesses.

If it should ever come out on DVD uncut, I'd buy it!

While it has been more than ten years since I have seen That's The Way of The World, I can say that anyone who sees the picture will appreciate it, and its view of the music industry. Harvey Keitel plays a record executive who appreciates the talent of a band played by Earth Wind and Fire. However, the record company is forcing him to promote a white popular act(based primarily on The Carpenters). While Keitel's character stays true to his heart, the overall message of the movie is that popular culture, expressed by music and images, maintains a discriminatory profile of American culture. If you see this movie, realize that it was made before disco became truly popular in the USA.

Another point to mention is that the movie deserves a look, but suffered because it was hard to market. Yes, unfortunately in 1975, American society was still segregated. Black music was marketed to blacks only, while popular music was either rock/heavy metal or melody music. Because white audiences were not as familiar with EWF, they did not care that they were in the picture. On the other hand, this was at the climax of the blaxploitation era, and the soundtrack and appearance of EWF were hyped to black audiences. However, when people saw the film and realized that the group only make brief appearances, they turned away.

My point is that because of the racial attitudes of American culture in 1975, the movie was not appreciated as it should have been. So when you watch it, please do so with an open mind. One of the more refreshing things about it is that it is a drama with more substance than style, and easy to get into without always being reminded that you're watching something from the 1970s.

Charles Stepney, who was involved in the making of the motion picture, was a close associate of Maurice White. He was involved in EWF's music leading into this project.