#sweet sweetback's baadasssss song

[tygerland]

Sweet Sweetback's Baadasssss Song (1971)

#1970s #indie #black history #film #melvin van peebles #70s #movies #sweet sweetback's baadasssss song #community #art history #cinema #black tumblr #spike lee #history #black men #mario van peebles #cinematography #black art #culture #director #🎬

[schlock-luster-video]

On November 17, 1980, Sweet Sweetback’s Baadasssss Song was screened at the London Film Festival.

Here's a new portrait of Melvin Van Peebles!

#sweet sweetback's baadasssss song #melvin van peebles #action movies #neo noir #blaxploitation #national film registry #indie film #black cinema #underground film #cult cinema #movie art #art #drawing #movie history #pop art #modern art #pop surrealism #cult movies #portrait #cult film

[cinemaquiles]

Blaxploitation em cinco filmes essenciais para conhecer esse movimento cinematográfico

#blaxploitation #shaft #superfly #70's movies #blacula #horror movies #coffy #pam grier #Richard Roundtree #Sweet Sweetback's Baadasssss Song #Melvin Van Peebles #john shaft #William Marshall

[byneddiedingo]

Sweet Sweetback’s Baadasssss Song (Melvin Van Peebles, 1971)

Cast: Melvin Van Peebles, Simon Chuckster, Hubert Scales, John Dullaghan, Mario Van Peebles, Rhetta Hughes, John Amos, Megan Van Peebles. Screenplay: Melvin Van Peebles. Cinematography: Robert Maxwell. Film editing: Melvin Van Peebles. Music: Melvin Van Peebles, Earth Wind & Fire. 

Raw, angry, uncompromising, and above all prophetic, Melvin Van Peebles's microbudget film unwittingly launched the “blaxploitation” genre but stands alone as a complete personal vision of Black America. It's a film easy to reject for its reductive portrait of Black life, for its nihilism, and for its pornographic elements, but it's impossible to ignore. 

#Sweet Sweetback's Baadasssss Song #Melvin Van Peebles

[gotankgo]

Sweet Sweetback's Baadasssss Song

#Sweet Sweetback's Baadasssss Song

[nadiawatchesfilm]

a Sweeet review

Sweet Sweetback’s Baadassss Song proves that Melvin Van Peebles is a man that wears many hats. While I don’t like that Sweetback opened with the sexual assault of a child (grimaces 1x) and that Huey P Newton championed this scene as a young Black man’s introduction to the world (grimaces 2x) I can say that I do like the fact that Van Peebles ushered in a new genre of film, one that didn’t paint Black people as hopeless, as stupid, as side characters. 

Virtually all Black people in America are aware of the police brutality that goes on in this country today, and a great number of us, far too many, have come face to face with it. Too many have been unable to walk away with their lives, While it is oftentimes difficult for me to separate the work that goes into these films from my review, I will sincerely attempt to do that with Sweet Sweetback’s Badassss Song, as I have attempted to do with all of the viewings in this class so far. 

In the opening title sequence flashes the words “Starring the Black Community” Now…I appreciate it! I know that some Black people had an issue with van Peeble’s putting that the community was in the movie, especially with the heaps of sex and violence portrayed in the film, and I can understand that. However, I’ll say that being Black is a different experience for men and women, for Americans and Carribeans, for New Jerseyians and Floridians. While being Black is something that unites us, the Black community exists in so many different facets. And I feel as though, in a time where theaters were devoid of Black films, Van Peebles wanted to represent the group that has been marginalized for hundreds of years. He wanted to take everybody along with him. 

The titular character is a pretty silent man. After viewing the movie, I Googled how many times Sweetback spoke;  apparently he has under a dozen lines. Let me tell you, Sweetback don’t talk, he’s about that action!  Sweetback is an action movie. He stands for the people that have been hunted and hounded by the white “justice” system for centuries. He stands for the struggle for a Black superhero. He stands to open discussion for people on their own experiences. 

While you might not like Sweet Sweetback’s Badassss Song (and I didn’t like all of it) after your, maybe deserved criticism, you must applaud the movie and for what it is, what it stood for, what Van Peebles inspired.

#martin van peebles #sweet sweetbacks baadasssss song #blackfilm #hbcu

[vampirecorleone]

"The title of the films refers to the X rating used by the MPAA from 1968 to 1990, which indicated that a film was only suitable for an audience aged 16 or older. The idea behind the rating was that, unlike the other certificates, X would not be trademarked, and would allow filmmakers to release their film in theaters without needing to submit it to the MPAA for an age certificate. Notable films that were originally released with an X rating include A Clockwork Orange (1971), Fritz the Cat (1972), Last Tango in Paris (1972), Midnight Cowboy (1969), and Sweet Sweetback's Baadasssss Song (1971). In the '70s, the porn industry would end up exploiting the X rating's lack of a trademark by releasing pornos in theaters with that same rating. Eventually, X became more associated with porn, and more and more theaters started refusing to show films with an X rating, forcing non-pornographic films to be censored to receive an R rating. In 1990, the MPAA discontinued the X rating and replaced it with NC-17. Unlike X, NC-17 was trademarked and could not be self-applied, but it still meant that most theaters would not show films with the rating, resulting in censorship, once again."

X (2022) dir. Ti West

#X #xedit #horroredit #userhorroredits #dailyhorrorfilms #classichorrorfilms #classichorrorblog #horrorfilmgifs #userbrittany #moviegifs #filmgifs #filmedit #filmdaily #tvandfilmdaily #dailytvfilmgifs #cinemapix #doyouevenfilm #fyeahmovies #dailyflicks #moviehub #filmcentral #junkfooddaily #gif #mine #made by me #photoset #gifs #gifset

[cartermagazine]

The Legendary Melvin Van Peebles

Filmmaker, writer, and composer, Melvin Van Peebles feature film debut, The Story of a Three-Day Pass (1967), was based on his own French-language novel La Permission and was shot in France, as it was difficult for a black American director to get work at the time. The film won an award at the San Francisco International Film Festival which gained him the interest of Hollywood studios, leading to his American feature debut Watermelon Man, in 1970.

Eschewing further overtures from Hollywood, he used the successes he had so far to bankroll his work as an independent filmmaker.

In 1971, he released his best-known work, creating and starring in the film Sweet Sweetback’s Baadasssss Song. He followed this up with the musical, Don’t Play Us Cheap, based on his own stage play, and continued to make films, write novels and stage plays in English and in French through the next several decades; his final films include the French-language film Le Conte du ventre plein (2000) and the absurdist film Confessionsofa Ex-Doofus-ItchyFooted Mutha (2008).

His son, filmmaker and actor Mario Van Peebles, appeared in several of his works and portrayed him in the 2003 biographical film Baadasssss!.

CARTER™️ Magazine carter-mag.com #wherehistoryandhiphopmeet #historyandhiphop365 #cartermagazine #carter #melvinvanpeebles #blackhistorymonth #blackhistory #history #rip #sip #staywoke

#carter magazine #historyandhiphop365 #wherehistoryandhiphopmeet #carter #history #cartermagazine #today in history #staywoke #blackhistory #blackhistorymonth #melvin van peebles

[inthefallofasparrow]

If you have seen more than one of these films, choose the one you think is most uncommon.

#poll #film

[romanceyourdemons]

i really enjoyed coffy (1973), pam grier’s rightfully renowned revenge extraordinaire. relative to shaft (1971), which shows black people triumphing by earning respect and solidarity from white people, and sweet sweetback’s baadasssss song (1971), which shows its black protagonist becoming utterly disillusioned by the violent white-controlled system and leaving it at all costs to fight against it, this film is thematically much more in the vein of the latter, although its political statements are nowhere near as radical and its visual and narrative sensibilities are closer to those of the former. the film depicts a respectable black nurse who assists a respectable black doctor, is in a committed relationship with a respectable black politician, and has a close friendship with a respectable black cop. and yet their respectability and success cannot keep them far separated from the crime and addiction ridden world they left. as the eponymous coffy descends into a spree of vengeance in retaliation for her child sister being pushed into drug addiction, she finds that the exploitative system of the drug and sex trade—and the corrupt police and politicians who choose profit over reform—is full of people who choose to turn against those they should experience solidarity with and punch down to ingratiate themselves with the ones punching down on them. abused sex workers abuse each other for a chance at the relatively protected of unstable position of the pimp’s personal sex toy; the black pimp sacrifices and sells out in the hopes that the italian mafia boss taking over operations will tolerate him, only to find himself lynched at the first opportunity. coffy’s old flame, the good cop, refuses to take part in this system and gets beaten most of the way to death as punishment. her current boyfriend, by contrast, both literally and metaphorically gets into bed with whiteness to boost his political career, using the black people he speaks of as his brothers and sisters while acting directly against their interests in favor of his own. as in sweet sweetback (1971), coffy finds that in light of this knowledge she cannot remain in her safe and respectable life, and is compelled to abandon it in order to take direct action against the system, from street-corner drug seller to congressman. as an exploitation film, of course, the film also glamorizes that which it nominally criticizes, especially the suave pimp and his nubile, homoerotic whores (a setup iconic to the genre, despite the narrative’s insistence that the arrangement is cruel and unsustainable). but pam grier’s intense performance and the layered, driving narrative make coffy (1973) a truly engaging and compelling film, one that i would highly recommend

#ryddles

[hyenaswine]

something a lot of people don't realize is that in the 1970s, it was a lot easier to get financing for & make a profit from pornography than it was for high-concept or experimental independent film. that's why a lot of innovative horror films & (especially) blaxploitation films from that era include pornographic content: to appease the investors/markets while allowing the filmmakers to be able to make the art they wanted to make. sweet sweetback's baadasssss song & shaft are prime examples. sex sells, so if you want to make movies that include more revolutionary ideas or experimental content, you at least know you're gonna get your money back if you throw in some porn as well. if you place porn into a totally separate category to avoid tainting "real" films, you ignore this kind of crossover history that was vital in shaping & changing the landscape of cinema, especially after the fall of the studio system.

#i'm thinking about this because i'm watching x but it's not very good

[soulmusicsongs]

16 Blaxploitation Songs

The Blaxploitation Movies of the 1970’s were the first films made by black crews for black audiences. Filmmakers turned to black musicians to score their films and add an extra touch of soul and featured artists such as Curtis Mayfield, Willie Hutch, Isaac Hayes and Marvin Gaye. Here are 16 awesome blaxploitation tracks.

Blacula Strikes! - Gene Page (Blacula (Music From The Original Soundtrack), 1972)

Drinking - Isaac Hayes (Truck Turner (Original Soundtrack), 1974)

Girl In My Life - The Final Solution (Brotherman: Original Motion Picture Soundtrack, 2008, orig. 1974)

Go'on With Your Bad Self - Sonny Smith (Super Spook / Go'on With Your Bad Self, 1974)

Hoppin’ John - Melvin Van Peebles (Sweet Sweetback’s Baadasssss Song (An Opera), 1971)

Lialeh - Bernard Pretty Purdie (Lialeh (Original Movie Sound Track), 1974)

Make It Right - J.J. Johnson ‎(Willie Dynamite (Music From The Original Motion Picture Soundtrack), 1974)

The Monkey Hustle - Jack Conrad (The Monkey Hustle, 1976)

Mr. Jonathan - Gerald Lee (Black Shampoo (Original Motion

Pusherman - Curtis Mayfield ‎(Super Fly, 1972)

The Robbery And The Chase - Coleridge-Taylor Perkinson (The Education Of Sonny Carson (Original Motion Picture Soundtrack), 1974)

Same Thing Happens - Jesse James (Black Fist (Original Motion Picture Soundtrack), 1977)

Theme From Together Brothers - Barry White, Love Unlimited, The Love Unlimited Orchestra (Together Brothers (Original Motion Picture Soundtrack), 1972)

Then I Want To Come Home - Solomon Burke ‎(Cool Breeze, 1972)

We Can Work It Out - The Final Solution (Brotherman: Original Motion Picture Soundtrack, 2008, orig. 1974)

WW III - Luchi DeJesus (Friday Foster (Original Motion Picture Soundtrack), 2001, originally from 1975)

Soul Music Songs

More Blaxploitation

The best blaxploitation soundtracks

15 Soul Songs Against Drugs

Peace and Happiness

Tribute to Muhammad Ali in 15 songs

#Blaxploitation Songs #Blaxploitation #Soul #Soul Music #Soul Music Songs #Music #Music Songs #Soul Music List

[schlock-luster-video]

On November 17, 1980 Sweet Sweetback’s Baadasssss Song was screened at the London Film Festival.

#sweet sweetback's baadasssss song #melvin van peebles #blaxploitation film #blaxploitation art #blaxploitation films #cult movies #blaxploitation movies #black cinema #independent cinema #independent film #grindhouse movie #movie art #art #drawing #movie history #pop art #modern art #pop surrealism #portrait #cult film #titanic #uhf

[legallybrunettedotcom]

what are all the movies in your exploitation edit? also have you ever considered doing letterboxd lists for your edits? anyways you're sooo cool xoxo

heyyy thank youuu 🫶🏼🫶🏼🫶🏼 i haven't considered it idk why i guess i always feel bad for not being able to include everything i want to. maybe i should start making them idk. though i was really surprised to find other people have been making lists for my channel, if you type into letterboxd legallybrunette1997 and go to lists a few pop up which is insane to me for some reason, like i can't believe i exist lmao. anyway sleaze list under the cut.

house of 1000 corpses, death proof, from dusk til dawn, planet terror, natural born killers, the evil dead, psycho, halloween, black christmas, maniac 1980, blood feast, texas chainsaw massacre, texas chainsaw massacre 2, a bay of blood, blood and black lace, lizard in a woman's skin, rabid, shivers, nekromantik, der todes king, faster pussycat kill kill, tetsuo the iron man, rika the mixed blood girl, night of the living dead, dawn of the dead, pink flamingos, multiple maniacs, female trouble, der fan, taxi driver, peeping tom, hausu, coffy, foxy brown, sugar hill, shaft, superfly, boss n-word, cleopatra jones, ganja&hess, creeepshow, psycho, sweet sweetback's baadasssss song, enter the dragon, i spit on your grave, last house on the left, the driller killer, ms 45, the hills have eyes, suspiria, eye of the cat, blacula, vampyros lesbos, vanishing point, easy rider, they call her one eye, sugar hill, the undertaker and his pals, cannibal holocaust, werewolves on wheels, dr butcher md, the babysitter, the devils, docteur jekyll et les femmes

[adamwatchesmovies]

Dolemite (1975)

Dolemite is memorable, culturally significant and entertaining all the way through. That said, the writing, performances, fight choreography and camerawork all are poor. The technical aspects make it hard to call it “good” but if it is a bad movie, it's one you won’t be sorry to see.

With the help of corrupt police detectives, Willie Green (D’Urville Martin, who also directs) sends his rival, Dolemite (Rudy Ray Moore), to prison. Since Dolemite's incarceration has done nothing to stem the criminal activity in his former neighborhood, fellow pimp Queen Bee (Lady Reed) convinces the prison's warden to release Dolemite and allow him to work with the FBI to clean up the streets.

Even if I warn you about how bad the fight choreography is, you’ve got no idea. It’s without a doubt the worst I’ve ever seen. Punches miss by a mile and Rudy Ray Moore doesn’t know a karate kick from a bowel movement. The camera is badly positioned, which makes it all the more obvious the bad guys he’s beating up are practically throwing themselves into trunks and onto the ground to show how virile and powerful our hero is.

The acting and writing are on the same level as the action scenes. The dialogue is lousy, which means the poor non-actors don’t stand a chance and this all makes the convoluted plot even more puzzling. In at least one shot you’ll see a boom mike in the bottom left corner of the screen. This means there’s plenty to make fun of but you don’t feel too bad about ridiculing this genuine effort because "Dolemite" is kind of in on the joke. Some of Dolemite’s dialogue is so outrageous they knew it would have the audience laughing. The violence might not be convincing but there’s a lot of it, which counts for something. Most importantly, Rudy Ray Moore has enormous amounts of swagger and presence. You keep watching, wondering what his character will do.

While Dolemite is not on the same level as Superfly, Shaft or Sweet Sweetback's Baadasssss Song, it contains the same elements that make them successful. It is a story of a Black hero hounded by corrupt white police officers who frame him and abuse their power until he rises to face them. While a pimp might not be what you would call a role model, Dolemite is the opposite of what traditional Hollywood Black men were like at the time. He is desired by all women regardless of their skin colour. He takes charge and never backs down. This film was made for Blacks, by Blacks. The humor spoke to them and while the film is funny, you can see elements of real-life pain and concerns beneath the surface - all of which Dolemite addresses with clenched fists and the heels of his boots. It is not a great film but you remember it and recognize why it was a big deal when it came out.

It’s probably best to go into Dolemite knowing the climate that created it. This may tempt you to watch 2019's Dolemite is My Name first to learn about the production, but I’d advise against it. The best scenes are spoiled by the Eddie Murphy film and it covers not only the making of this picture but that of the sequels as well. I say watch them as a double-feature but make sure this one is first.

You may wonder why anyone in their right mind would recommend Dolemite but if you’re interested in the history of cinema, particularly Black cinema, it’s a minor classic. (February 5, 2021)

#Dolemite #movies #films #movie reviews #film reviews #D'Urbille Martin #Jerry Jones #Rudy Ray Moore #Lady Reed #Hy Pyke #West Gale #John Kerry #Vainus Rackstraw #1975 movies #1975 films

[gotankgo]

Sweet Sweetback's Baadasssss Song (1971)

#Sweet Sweetback's Baadasssss Song #Melvin Van Peebles #1971