Welcome Home Brother Charles

I am an old broad who saw this originally when it was released at the drive in. When I found out what "weapon" he used to kill his victims, I laughed so hard I could barely drive home. When I tried to tell my mom and older sister what the movie was about the next day, it took damn near half an hour because I was laughing so hard! I was literally bent in half. I keep thinking about the "strange markings" on each of the victim's necks. This movie is "blaxplotation" at it's worst. But you have to see it! If you want a good laugh at a bad movie, this is it. It's one of those "guilty pleasure" movies. It is like watching a train wreck, you just cannot turn away. You must see it!

Locate this film. Purchase it if you have to. Fast forward about an hour or so into it then play it. Soon you will see a scene like no other. Thousands of movies may be better but none are more memorable than this student film made by Fanakaa while at UCLA. I will not spoil the scene for you but let's just say the main character uses something very interesting to strangle a man. Its a body part but I will not tell which one.

Marlo Monte portrays Charles Murray, an amiable dope pusher who is arrested by white detectives. Unfortunately for Charles, one of these white detectives is Harry Freeman (Ben Bigelow), a raging racist unable to satisfy his wife. What Harry does is that he attempts to castrate Charles, getting back at both the wife and blacks in general. Charles spends three years in the pen, renounces crime, and tries to go straight, although finding honest work is difficult. He shacks up with Carmen (Reatha Grey), a former hooker, and ultimately decides to get revenge on all the honkies who did him wrong: Freeman, Freeman's partner (Stan Kamber), the judge (Ed Sander), and the prosecutor (Stephen Schenck). This he does in an extremely memorable, "Holy *beep*, I can't believe I'm seeing this" manner.

The big money shot occurs around the 88 minute mark, and while it may not catch you off guard if you know the big twist going in, it's STILL a priceless sight to behold. It's guaranteed to send viewers into gales of laughter.

And yet, at the same time, this viewer doesn't know that this aspect of the story is meant to be taken all that literally. Our protagonist may well have become unhinged by his experiences. In effect, the debut feature for writer / producer / director / editor Jamaa Fanaka, who hit it big four years later with the first "Penitentiary" picture, is largely a traditional story of vengeance. But Fanaka makes it fresh by infusing it with subtext (namely, black male virility), and a portrait of black American life in Compton and Watts of the mid-70s.

The filmmaking may not be terribly slick, and some of the performances may be amateurish, but the participants do get an A for effort. Monte and Grey have engaging personalities, Bigelow is an appropriately despicable p.o.s. antagonist, Jackie Ziegler is all kinds of sexy as Charles' ex-girlfriend Twyla (she performs a strip number), and Tiffany Peters is good as Freemans' defiant wife.

Enhanced by some gloriously funky tunes, and William Andersons' sometimes seriously weird soundtrack, this is one blaxploitation oddity that definitely merits at least one viewing.

Eight out of 10.

Somewhat watchable blaxploitation film, though it's pretty bad (and I don't mean BAAD).

The movie starts with a shot against a black background of an African-like carving of a man with a disproportionately large penis. It's not seen again in the movie.

A drug dealer gets caught by the police and the arresting officer cuts his manhood with a blade. He spends three years in prison, depicted by a black and white photo montage, and short black and white clips.

After he's released, nothing of his old life remains. He moves in with a sympathetic hooker who'd witnessed his arrest. He vows revenge on the people who put him in prison.

Towards the end, he delivers on that vow. When the wives of his intended victims see his manhood now, they're automatically his to use for sex and to brainwash. He can also cause it to lengthen to several yards long, and use it to strangle men who've done him wrong. It's weird the way the movie springs this on us, without giving us any indication that he knew he had that power.

What is the weirdest blaxploitation film? Could it be The Thing with Two Heads, with its story about an old racist who has his head transplanted onto a black man from death row? Or could it be Dolemite with its kung-fu pimp, karate kicking prostitutes, sweary nightclub routines and ever-present boom-mic action? Or perhaps its Darktown Strutters with its female motorcycle gang, comedy relief racist cops, colour-co-ordinated KKK biker gang, pig men in capes and minstrel musical section? Well, maybe it is one of those but then again, there's always Welcome Home Brother Charles!

This film's hero is a drug dealer who returns from doing time in prison after almost being castrated by a racist cop. Naturally he wants payback against his enemies. So, what does he do? Why, he hypnotises women with one look at his dick and then strangles their husbands with his two metre long knob! Its never even really explained WHY he has a python like John Thomas with a life of its own. It was to do with being in prison or something. Anyway, needless to say, this is a thoroughly strange exercise in biscuit-taking cinema and, therefore, comes highly recommended.