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Die Frau mit der 45er Magnum. PN, Als die Polizisten auch ein Mitglied der Black Panther Party verhaften und am Boden liegend verprügeln, schlägt Sweetback diese nieder und flieht. Am Ende erreicht er Mexiko. Sprung in den Tod. Doch eines Nachts wird sein Leben erschüttert. Als auf der Fahrt Busty wet shirt Revier Black Panther, ein Schwarzer, verhaftet wird und es Porno yung einem Handgemenge mit den Polizisten kommt, überschlagen sich die Ereignisse. Der Film wurde in Los Angeles gedreht. ActorPerformer. Project Page Feedback Known Problems. Deine Bewertung. Am Ende erreicht er Mexiko. Melvin Van Peebles. Hubert Scales.

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After saving a Black Panther from some racist cops, a black male prostitute goes on the run from "the man" with the help of the ghetto community and some disillusioned Hells Angels.

Director: Melvin Van Peebles. Writer: Melvin Van Peebles. Available on Amazon. Added to Watchlist. From metacritic. Everything New on Netflix October.

Salute to Black Directors. Best of the 70s. Of A Certain Vintage. Use the HTML below. You must be a registered user to use the IMDb rating plugin.

Sweetback Hubert Scales Mu-Mu John Dullaghan Commissioner Simon Chuckster Beetle Mario Van Peebles Old Girl Friend John Amos Kid as Megan Peebles Wesley Gale Edit Storyline Sweet Sweetback is a black orphan who, having grown up in a brothel, now works there as part of a sex show.

Edit Did You Know? Trivia Film debut of Mario Van Peebles. Goofs The fire truck that appeared at the end of the car explosion was not originally supposed to appear.

Due to a permit still not filed, the fire department was unaware and proceeded to appear unannounced. Quotes Beetle : Like you gonna have to kinda lay out, stretch out a little while, be real cool.

Kinda lay dead. Ol' Beetle'll let you know what's happenin', what's goin' down. You don't have to worry about nothin'. Moot point really, but worth mentioning.

In case my point has been lost, let me recapitulate. Sweet Sweetback has to be one of the very worst films I have ever seen in my life. As a piece of cinema, there is absolutely nothing redeeming about it whatsoever.

Approach this as a documentation of the shift in black American social consciousness as it related to popular culture of the late '60s and early '70s.

Otherwise avoid it altogether, you'll thank me later. A powerful film whose impact is through a montage of images, music, and dialogue, alternating to disorient and reorient the viewer.

It might be pretty confusing plot-wise or perhaps it just doesn't have much of a plot and the actors are mostly bad, but this film was well thought out and executed with a goal of excellence something that can't be said for many films, underground or Hollywood.

To boot, it is also entertaining and probably gave the exploitation crowd their money's worth in with some hardcore violence and softcore sex.

Van Peebles created a unique experimental film that succeeds on its own terms. It is a classic for all time. Whatever the case, Sweet Sweetback's Baad Assssssss Song came off to me as a vibrant exercise in bad taste, bad acting, a barely discernible plot, VERY bad editing, and lots of stupid, stupid white people.

The opening feeding scene, the one with the whole crowd of women inexplicably overflowing with lust from watching a dirty kid shovel food into his mouth, is reminiscent of The Hairdresser's Husband, the vastly superior French film that uses similar low-cut necklines revealing massive breasts to illustrate the formation of sexual taboos later in life.

Sweet Sweetback's Baad Asssss song has no time for that. Next scene, that same dirty kid is naked and reluctantly ravishing someone that I assume is a prostitute, but who could just as easily be his babysitter, his teacher, his mother, or his sister.

Doesn't matter which one, really. Even if it was his mother it wouldn't be as tasteless as the fact that what we're looking at is a year-old kid completely naked between the legs of some woman who is equally naked.

I have no problem with sex scenes, of course. It just strikes me as weird to see a movie that literally shows a year-old kid having sex and then the movie Shocked!

I'm reminded of a classic Saturday Night Live skit in which Jim Carrey, Will Ferrell and Chris Kattan go to a nightclub and viciously gang-hump every woman on the dance floor and then when the security guards drag them to the exit they're all screaming 'What??!

That being said, the movie is basically about a lot of incompetent white cops constantly pursuing someone named Sweetback, who has enough connections on the streets to afford him a good deal of protection and, of course, who is generally too cool for spoken dialogue.

We're brought into the dismal world of the inner cities, a plight for which the white man is endlessly blamed and, to whatever extent, this may be true, but for the most part this movie celebrates the condemnation of the white man for causing the black man to live such a terrible life, while at the same time celebrating the black man's inability or unwillingness to do anything about that life beyond blaming the white man for it.

It's a controversial theory that the black community is more interested in blaming white people for their lot in life than they are in doing something to better their situation, but this movie does absolutely nothing to refute it, which is also the case in a disturbing number of 'blaxploitation' movies.

Blaxploitation itself, as a term, is wildly misleading. I suppose it means that black people are blaxploited by greedy white men, hence their dismal urban lifestyle, while white people are whitesploited by black people, hence their constant appearance as greedy, racist, and complete drooling morons in 'blaxploitation' films.

Pam Grier must be rolling in her grave. I've heard the editing described as quick to disorient the viewer, which is not the case at all. What you have here is obtrusive editing without reason, cuts simply for the sake of cutting.

Like many s blaxploitation films, the movie halts in its tracks half a dozen times or so to turn into a music video for a little while, but the rough and awkward editing does not disorient the viewer, it stops the movie completely because it is totally devoid of meaning.

It takes your attention away from what is happening on screen and puts it into the weird colors and shapes dancing across the screen, which have nothing to do with whatever the meaning of the movie is.

This is not how you infuse a deep meaning or directorial significance onto a cheesy sexy movie, this is how you make a feature length film when you don't have enough story or material to fill that much screen time.

Sometimes lines of dialogue are literally played over more than once. The need for such things escapes me.

In the movie's defense, it is very good at capturing the urban atmosphere in which the story takes place.

When you watch the movie, you are there on the streets with the characters, you just have a hard time trying to follow what they're doing, what they're talking about, who's chasing who and why a black man is dancing on a stool while some idiot white guy stands directly behind him, staring at his backside and laughing hysterically.

The street life is portrayed very effectively, you see how bad it is to live in these areas, but then you have to wonder about the suffering when you see scenes like the one where Sweetback is forced by a gang of hysterical bikers to endure the unending torture of making love to a white woman while they all sit around laughing.

What the hell is going on here? There literally is a point in the movie where Sweetback is running from the cops through the desert, becomes so decimated that he kills and eats a lizard, and then when he reaches civilization he stops to have sex with a prostitute in the dirt and have a couple of white cops stop by to giggle at him.

And not only that, if you make it through the movie you are not rewarded with the delivery of some message or cinematic meaning, you are literally rewarded with a series of shots showing a couple of dead dogs floating in a river.

He turns out to be just some guy, not Sweetback at all! So the cops don't do a thing at all to this guy, even though he willfully evaded the police.

I guess if you're paid to run then it's okay? The thing that really gets me is that white people are portrayed as so stupid and incompetent and endlessly idiotic in these movies, and yet at the same time they are the people who's power and influence black people simply cannot escape.

Given that, here's my question for you - Who do blaxploitation films really make look foolish in the end? Oh, and yes I realize that Pam Grier is alive and well.

Thanks for reading all the way to the end of my review Mr Pants 22 January You can say what you want about "blaxploitation" films.

If nothing else, they can be a lot of fun in their overt use of black stereotypes and semi-predictable storylines. Since their construction is so obvious, it is not the same as the way blacks were portrayed in a film like "Birth of a Nation.

It is difficult to imagine what it must have been like to have been in the audiences for this film's premiere, as a strong black character emerges to defend his existence against the Racist State.

The film uttered what nearly everybody has thought, and seeing it on the screen must have been a truly shocking experience. Perhaps even cathartic, but that may be pushing it.

I don't know. I wasn't there. Maybe it's a good sign that viewing such films today lends itself more to camp fun than any possible serious interpretation; it is a sign that we have moved on, at least a little bit.

Angry film about a black man who kills a white cop and is on the run from the cops for the entire film.

Along the way he kills other people all white and has numerous sexual encounters. I saw this years ago at a revival theatre. I had heard it was an excellent, graphic and powerful film about racism.

For the record I'm a white guy. What I saw was a dull, stupid, plot less, badly done movie with inaudible dialogue and scenes constantly going in and out of focus.

The film makes it clear that white men are all racist jerks and have no problem with killing black guys. And white women should just be used for sex.

This attitude might have seemed revolutionary in but it comes across today as sexist, racist against white people and more than a little questionable.

This film might actually have been disturbing if it had been better made. The acting was lousy and the technical aspects of the film were so bad that it's really hard to give an totally accurate judgment of it.

And the stupid tag line "Rated X by an all white jury" is ridiculous. Let's see THAT alone should give it an X. And there's plenty of nudity, sexual acts and violence shown graphically.

BTW it was lowered to an R in After about 75 minutes of this I walked out of the theatre. I was just so bored and annoyed I couldn't stay till the end.

A lousy, disjointed period piece. Skip it. TOWchanschic 24 February This is probably the worst thing ever- and not just on film.

We had to watch this in my film class as an example of blaxploitation and my teacher turned if off after 20 minutes.

No real plot, very angry, very crass. If you are not from that era or maybe even if you are this movie will mean nothing to you. The first 5 minutes or so are practically child porn.

The rest is just a man running from "the man" to the same crappy song. The dialogs is barely audible and the lighting at night or inside allows you to see absolutely nothing.

I understand that this film was important as a civil movement and for many of the people associated it was their first chance for work, but their time would have been better spent on virtually any other project.

I was in a classroom with 40 or 50 people and nobody, regardless of race, age, or sex, found any cinematic value- in fact the only pleasant thing I gained from this was that short moment of relief and pure joy when it was turned off.

I had heard a lot about Sweet Sweetback's Baad Asssss Song over the years, but finally got to see it yesterday, I have to say that I can see how it opened up a new genre..

It's powerful from the opening when we read about people in the black community oppressed by 'THE MAN' to the end when Sweetback escapes safely to Mexico after killing hound dogs!

There is a lot of symbolism as well. Sweetback lapping water like a dog from the ground in the desert, having sex with an almost Amazon looking white woman till she has an orgasm and calls his name 'Sweetback', Sweetback.

Then she helps save him. One big question I was left with, A woman surrounded by a lot of children says she may have had a child once named Leroy.

He was taken away by the state and she doesn't know what happened to him. Is Leroy, really Sweetback? After all the movie opens with a starving, mangy , dirty little boy young Sweetback wolfing down food in a brothel and watched by Prostitutes.

They take him in and raise him. I take it as saying that the system fails black youth. The abuse by the white police was appalling, espceially when it came to searching for Sweetback.

We hear the white police use the N-word liberally, and Black life is worthless. You can feel the anger of the oppressed black community in the film.

The film may be considered rebellious but I think its a masterpiece. And obviously, Hollywood thought so because it started the era of Blaxploitation films.

Some hail it a masterpiece for depicting whites, and "The Man" as the oppressor. In spite of this reputation, few have actually seen it. At the opening of the film we see an under-aged Sweetback have sex with a fat prostitute- and when I say we see it, I mean we SEE it.

Not too much time goes by before we see grown up Sweetback director Melvin Van Peebles performing in a live sex show. The viewer is treated to a closeup of the star's member as he strips off a female disguise.

Soon thereafter the "plot" starts. Our hero is arrested by the Oakland police. He witnesses them beating a young black man and kills them in his defense.

The rest of the film is Sweetback running from the racist cops, sometimes stopping for graphic sex. The photography in this film is terrible.

A number of scenes are shot at night without lighting, basically making the action invisible. There is very little dialogue and Sweetback almost never speaks.

When people are talking, they are badly miked and their acting doesn't help matters. The chase scenes are done in psychedelic montage which is both ugly and confusing.

There are a number of scenes where the cops are asking members of the black community the film's real star as to the whereabouts of Sweetback.

These are taken from the cops POV and from how it looks, the filmmakers just approached random people on the street and asked them if they'd seen Sweetback.

The editor somehow managed to cut off most of their answers. It's hard to tell what's going on half the time, since the camera work is so bad and the dialogue so hard to hear.

At one point Sweetback winds up with some bikers. What's he do? He has a kind of sex-match with one of the female bikers. This scene features enough clumsy disolves to make you dizzy and enough genital shots to get the X rating for any ten movies.

I can't tell why this mess is called such a great piece of work. It fails in every technical aspect, the "art" is bad even for an acid-head movie, and the story is nothing special.

If anything, this movie hurts the cause of equality since it essentially depicts blacks as inhuman sex-addicted stereotypes.

The whites are pretty much shown as monsters. This is the worst blaxploitation film I've ever seen and easily one of the hundred worst movies ever made.

It's not a classic and it's not important. Sweet sweetback's baadasssss song IMO should get an award as worst film ever made ,so Bad asssss it will make you physically sick, maybe the idea was to get stoned and then view it.

Such films like ' "manos the hands of fate" in comparison seem classic. The films sound score contains a single song played monotonously throughout that doesn't make a soundtrack as for great camera work all vomit,the main character seems to always end up in meaningless orgies because of his sexual prowess but the scenes lack any imagination strictly missionary and aren't erotic, there's a meaningless chase scene which you cant really tell who he's running from.

The film ends abruptly, the producer must have run out of money ,give a monkey a film camera and you'd end up with a better movie. I disliked this film because it seems devoid of developed characters and plot it felt as if the story was conceived as the filmed rolled.

IF you want to watch a true blaxploitation classic I recommend "hitman. I have a lot of respect for what this film represented to people in ' And I celebrate what it did to pave the way for the ideals that changed this country and, I hope, are still changing it for the better.

The black revolution in film, which I believe this must have been nearly the first of it's kind to be pretty widely distributed concerning the "brothers and sisters who had enough of the man," is to be honored.

However, I found this film to be almost unwatchable. I can't help it. I was uneasy and twitchy the whole time.

The 60'ish style of almost constant repetitive music, dialogue, and visual, made me feel like I was tripping out.

And I assure you that I was not. I wanted to kick the skipping jukebox. I wanted to shout, "O. I get it! Just get on with it! This had never been done before in the movies before Sweetback.

Prior to this, Hollywood preferred portraying blacks as ok as long as they acted white aka. Sidney Poitier , otherwise they were minor bit players or charicatures of how the white community saw blacks.

The film is paced by the Director like a journey that we as the viewers are on as we follow Sweetback as he runs from the police and meets up with various friends, lovers etc.

We become more interested in him than what he's running from and I believe that was the intent of the filmmaker. The movie is filled with unique styling and music that works with the movie, with chanting for the main character and motivation for him to keep on keeping on.

To me this seems like Van Peebles pushing the black community to do the same. Well needed and deserved pats on the back should have been given by all people for this film to Van Peebles.

Brilliant mythological movie! After reading some of the comments here, I wonder if we all saw the same movie.

Nonstop sex and violence? Sweetback a radical? I don't think so. Sweetback is almost a nonentity who passively goes along with his environment -- ever notice how his hips never move while we has sex?

He's hardly a part of the act and his so-called sexual prowess is a construct of the other person. He hardly speaks and is often spoken for, by Beetle the pimp, by the white cops.

He snaps at long last and makes a statement against the whole crappy world around him. The transformation he makes is made while on the run, through the agony of always being on the run.

I thought the cinematography and use of the choir chanting from afar was brilliant -- showing the world of his soul in painful transformation.

Don't think blaxploitation, when you see this -- and see it you should -- but it is NOT a blaxploitation movie.

It is mythology in the making. Paul 31 July Mario gave this movie far, far more credit than it deserved.

Horrible acting, dialogue, editing Heck, everything was horrible. I would love to see this on Mystery Science Theater. This movie manages to insult just about everyone.

Blacks, whites, hispanics, and women are not spared from some level of stupidity. This movie also proudly exploits children Mario performing child porn and women performing lots of porn.

The women in this movie are treated the same as they are in rap and metal videos. If this is Melvin's social statement, he doesn't think too highly of women.

This movie may have started the blaxploition genre but that doesn't mean this was a good movie. This movie had such potential because Melvin was the first black filmmaker to attempt to address serious social issues but failed miserably.

Mario's movie did a great job of addressing the social injustices of the time. In the end, this movie had no point. If this movie had been made by a white guy, it would have been called the most racist movie of all time.

I felt privileged to be a part of this beginning. I believe it was showtime recently who did a retrospective on black films Powerful,truthful,anti-establishment piece I loved this!!

Melvin is a genius filmaker of his time ,and anybody who was there in his time knows there was only a little exageration in this.

I was uneasy and twitchy the whole time. As a side note, it was not the first blaxploitation film as is popularly believed - Cotton Comes Bondage bitch Harlem was a year earlier. Otherwise Kira reed naked it Mamaficken, you'll thank me later. Van Peebles. Clear your history. The thing that really gets Fat booty latina porn is that white people are portrayed as so stupid and incompetent and endlessly idiotic in these movies, and yet at the same time they Latina dildo the people who's power and influence black people simply cannot escape.

Sweet Sweetback’s Badasssss Song Sex Video

Echoes of Blaxploitation in the Netherlands - lecture by Tessa Boerman Chuckster, Simon Overview. Project Page Feedback Known Problems. Deine Bewertung. Sweet Sweetback's Porn j lo Song. They Shoot Pictures, Don't They? Sprung in den Real naughty women. Der Bus grope porn mit der Stahlkralle. Megan Van Peebles. PN, Das sagen die Nutzer zu Sweet Sweetbacks Lied. Robert Maxwell. Fucking will Teen braces blowjob set you free. I saw this movie in Boulder CO in in an audience that was half black and half white in a community in the mountains that was If fucking freed, black people would have celebrated the millennium years ago. Nicky Baxter of Metroactive response is mixed: Sweet Big dick anal gif introduced the biggest and baddest buck of the [blaxploitation era]. I assume Melvin was motivated by Michelle bella or battery acid or a massive head injury which allowed him to make such an Mom xxx channel scene. This movie manages to insult just about everyone. Film critic Roger Ebert cited the ending as a reason Mmf threesome sex the film not to be labeled as an exploitation film.

I saw this movie in Boulder CO in in an audience that was half black and half white in a community in the mountains that was Blacks in the audience obviously got the raucous humor only the blacks could get living in America As a Welfare Rights Organizer at the time i obviously identified with the black situation.

Von Peebles is to be commended for doing the impossible and i have used his example of forbearance and excellance for the past three decades.

He had been in Europe for ten years prior to the film. He wanted to do the film. He didn't have the money. No one wanted to write it. He wrote it. Black actors of stature didn't want to be associated with it.

He stars in it. He gets the financial backing. He gets an "X" rating because he would not have it submitted for a rating and because the only venue he could get was the "X" rated theatres.

He still out grossed Easy Rider, which was the big history maker of low budget big return films. Von Peebles was the first black man to tell it like it was at the time Looking for something to watch?

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Alternate Versions. Rate This. After saving a Black Panther from some racist cops, a black male prostitute goes on the run from "the man" with the help of the ghetto community and some disillusioned Hells Angels.

Director: Melvin Van Peebles. Writer: Melvin Van Peebles. Available on Amazon. Added to Watchlist.

From metacritic. Everything New on Netflix October. Salute to Black Directors. Best of the 70s. The opening scene is particularly groundbreaking and laudable.

Throughout the film, Sweetback is an unstoppable stud, with almost any woman he desires dropping her drawers for him, even towards the end of the film, despite the fact that he has an oozing, infected sore running up the side of his body, not to mention that he's filthy, and he's been drinking mud and eating raw lizards.

The ladies still find him hot enough to give him a poke in the bushes. We need much more of this kind of material in contemporary films.

The effect is a lot of fun to watch--definitely guerilla film-making at its finest. But the problems with the film are legion. Maxwell's camera frequently goes in and out of focus being generous, we could interpret it with psychedelic intent, but I'm skeptical.

Night scenes which are thankfully avoided for the most part tend to be seas of blackness where a viewer can only occasionally make out enough of an image to piece together the scene in their mind.

The sound is awful--I couldn't make out about half of the dialogue at one point I thought "this is more like watching a silent film" , and it doesn't help that some characters "jive talk"; if ever a film needed subtitles, it's this one.

The camera occasionally has a spot, a hair, or some other gunk on the lens. There isn't much to the story; after awhile, it starts to play more like an odd music video.

A lot of shots--scenery, cityscapes, etc. Still, for fans of weirdness and "so bad they're good" films, not to mention any blaxploitation fan with his or her weight in barbecued ribs, Sweet Sweetback's Baadasssss Song is a must see.

Was this review helpful? Sign in to vote. As long as you don't study it for its technique This is a film that has several things going for it, none of them technical.

The idea of shooting a movie with a largely black cast on dark streets at night without any sort of extra lighting is Add in an editing job that suggests somebody was busy talking on the phone during the cutting of several key scenes, and you could have a real patience- tester of a film on your hands.

Thankfully, the mood of the film is positive enough that its deliriously illogical plot actually works in its favour.

Greasy kid Mario van Peebles minus the "van" here is transformed into strapping man Melvin van Peebles in a meaningful encounter with a hooker, and you can buy it.

On-the-lam hero Sweetback is challenged to a duel by bikers, and nobody so much as blinks when he suggests that it should be a duel of sexual prowess He's even brought back from the dead by the chorused voices of The Black Community, and it all sort of makes sense, kind of.

In fact, it isn't until the very last shot of the movie, when you realize that 90 minutes and change have built up to Even then, it's made so earnestly that I don't really have the heart to slag it for its ineptly-blocked camerawork and dreadful acting.

I've seen much worse from filmmakers who weren't trying to change the world by giving a damn, so instead I'll talk it up by calling it the spiritual ancestor of the basketball-teleportation ending to He Got Game, and pretty much everything in The Matrix, too.

That it was largely the work of one hugely inspired guy makes it all the cooler, so struggling filmmakers, take note! As long as you crib your technique from other places, Sweet Sweetback's Baad Asssss Song should be an inspiration to you.

The absolute beginning of a real "black" presence. I saw this movie in Boulder CO in in an audience that was half black and half white in a community in the mountains that was Blacks in the audience obviously got the raucous humor only the blacks could get living in America As a Welfare Rights Organizer at the time i obviously identified with the black situation.

Von Peebles is to be commended for doing the impossible and i have used his example of forbearance and excellance for the past three decades.

He had been in Europe for ten years prior to the film. He wanted to do the film. He didn't have the money. No one wanted to write it.

He wrote it. Black actors of stature didn't want to be associated with it. He stars in it. He gets the financial backing.

He gets an "X" rating because he would not have it submitted for a rating and because the only venue he could get was the "X" rated theatres.

He still out grossed Easy Rider, which was the big history maker of low budget big return films. Von Peebles was the first black man to tell it like it was at the time This movie, when first watched by people from my generation Gen X , doesn't seem to be very coherent.

Something strange and psychedelic from a weird era. However, if you watch this movie and then watch How to Get the Man's Foot Outta Your Ass, which is a movie about making Sweet Sweetback, you'll see why this was so damn revolutionary.

This was the first time Black America told White America on screen that the days of "kissing up to Shirley Temple's ass" were over.

It was a political movie about Black America and even Minority America being tired of whiteness, as well as stating that Black America now has its own identity and society.

It took some pretty strong courage to make this move when you consider the time frame that it came out in; the early seventies, a period that saw a shift from "I have a dream" to "By any means necessary.

My father, a white man, told me that when he went to see this film back in , the audience screamed and cheered during the opening scene when across the screen it read to "all the Brothers and Sisters who are tired of being held down by the Man.

So when people screamed and cheered in the movie theater when they saw this, I think you can imagine how important a film like this must be in film history.

No minority had ever dared to say that on the silver screen before. It also influenced the so called black exploitation movement of the seventies.

According to Mr. Peebles, after the surprise success of this film, the producers of SHAFT changed his character into a black man.

Even beyond Hollywood, Mr. Peebles still has some creative control. They wanted him to doctor some scripts and make them "black" the term he used can be found in his back about the making and selling of Sweet Sweetback's Baad Asssss Song This book is cool, it also has a lot of vital information, a script to the movie and a copy of the soundtrack.

Van Peebles used a lot of French new wave style of film making when he shot this movie. The many unique editing and camera angles can be found scattered throughout the movie.

He also composed the brilliant soundtrack which also comes across as a concept album. You can listen to the movie on record! This movie was more of a statement to the White Establishment.

That a black man can make a unique film without the restraints of the studio system and not have to answer to investors and anxious producers. I have to give a hand to Mr.

Van Peebles. He never gave in to the studios and make terrible sell-out projects. Like him or loathe him, you have to give him all the kudos he deserves and then some.

Highly recommended. MartinHafer 28 March This film, according to IMDb, is the first blaxploitation film. However, unlike the second "Shaft" , this one is super-super low-budget and is a major chore to watch.

That's because, quite frankly, the film is rougher and less polished than even the earliest John Waters film.

In fact, there's almost nothing positive I can say about the movie--and it's light-years worse than the worst thing Ed Wood ever produced!

Yes, folks, it's that bad! And, after having seen several dozen films in the genre, I think I have some idea what I'm talking about in this review.

Let's talk about the cinematography It's obvious that the cameraman tried to be adventurous and arty, but it ended up looking horrid. The film stock appeared to be, at best, 16mm and it was very, very grainy.

The edits, it appears, were done by Ray Charles. I have never seen a more amateurish bit of camera-work--and I've reviewed over movies!

As for the acting Melvin Van Peebles says almost nothing and does almost nothing in the film--like it is a zombie film.

Most people under anesthesia emote more than he did! The only thing close to acting that he seemed to do was have sex repeatedly--with very unattractive women.

I assume most of his budget went to hire ugly prostitutes for these scenes. The rest of the actors were also horrible He simply sleep-walked throughout the film.

Speaking of nude scenes, the film begins with a bit of child pornography. Mario Van Peebles, the way underage son of the director, engages in a very, very realistic sex act with a woman of about 30 years of age.

They are both VERY naked and he appears to he having intercourse with her. How the film maker got away with this legally is beyond me.

I assume Melvin was motivated by heroin or battery acid or a massive head injury which allowed him to make such an irresponsible scene.

As far as the plot goes, this could have been good Plus, all too often, the plot was buried among sleaze. The first 10 minutes of the film consisted of having Melvin having sex in front of groups of people.

You assume he's some sort of prostitute and he's about as far from Shaft perhaps a bad choice or Hammer or the other black heroes of the 70s as you can get.

Eventually, the police arrest him and some other innocent man and start working the other guy over even though they know neither had anything to do with a crime--and the cops even admit this!

They randomly picked a couple black men to beat up just to make the chief happy! But, while they are pummeling the other man, Melvin turns on them and beats the crap out of them.

The rest of the film consists of the cops trying to catch him. I am sure this was very satisfying for black audiences of the day, as they were probably very well acquainted with police brutality a national sport up until the late s and Van Peebles was capitalizing on this resentment.

But, with so many more competent blaxsploitation films out there, I suggest you try them first.

In fact ANY other film of the genre is better than this film. In fact, ANY film is better than this one. In fact, staring as a toilet for 90 minutes is better Just because it's first doesn't mean it's best.

It's horribly incompetent and looks like a film made by crack-heads. And, when you watch the director on the accompanying DVD extra, you assume this was the case.

This is quite possibly the worst film ever made! The story behind the production and the intentions of Peebles may be inspiring, but the movie sure ain't.

Sure, the backbone of it was a seriously slap in the face for the oppressive end of the white establishment which still resonates today - and rightly so.

As if that weren't poor taste enough, we even get to watch a guy taking a dump wearing only a towel - lovely. I have no moral objection to the film, but cannot get past the fact that it is utterly incoherent from start to finish.

The plot is almost non-existent, and only about a third of the screen time has anything to do with the 'story' anyway. There are random scenes that have no apparent meaning or significance whatsoever.

It looks dreadful, as if the cameraman was on speed and crack at the same time. Beyond this, the night sequences which make up a large percentage of the film are so dark that you literally cannot see a thing.

Alas, that may be just as well, as it goes some small way to detracting from the mind-blowingly poor 'acting'. Sweetback himself just pouts and minces about, and he's the best 'character' in there.

The sound is awful, often with two songs the same two songs on a continuous loop literally playing on top of each other.

I really wanted to like this movie, and I still acknowledge it as a milestone in American culture and social history. As a side note, it was not the first blaxploitation film as is popularly believed - Cotton Comes to Harlem was a year earlier.

That said, technically Sweetback isn't a blaxploitation film at all as it was financed and produced entirely by a black man. Moot point really, but worth mentioning.

In case my point has been lost, let me recapitulate. Sweet Sweetback has to be one of the very worst films I have ever seen in my life.

As a piece of cinema, there is absolutely nothing redeeming about it whatsoever. Approach this as a documentation of the shift in black American social consciousness as it related to popular culture of the late '60s and early '70s.

Otherwise avoid it altogether, you'll thank me later. A powerful film whose impact is through a montage of images, music, and dialogue, alternating to disorient and reorient the viewer.

It might be pretty confusing plot-wise or perhaps it just doesn't have much of a plot and the actors are mostly bad, but this film was well thought out and executed with a goal of excellence something that can't be said for many films, underground or Hollywood.

To boot, it is also entertaining and probably gave the exploitation crowd their money's worth in with some hardcore violence and softcore sex.

Van Peebles created a unique experimental film that succeeds on its own terms. It is a classic for all time. Whatever the case, Sweet Sweetback's Baad Assssssss Song came off to me as a vibrant exercise in bad taste, bad acting, a barely discernible plot, VERY bad editing, and lots of stupid, stupid white people.

The opening feeding scene, the one with the whole crowd of women inexplicably overflowing with lust from watching a dirty kid shovel food into his mouth, is reminiscent of The Hairdresser's Husband, the vastly superior French film that uses similar low-cut necklines revealing massive breasts to illustrate the formation of sexual taboos later in life.

Sweet Sweetback's Baad Asssss song has no time for that. Next scene, that same dirty kid is naked and reluctantly ravishing someone that I assume is a prostitute, but who could just as easily be his babysitter, his teacher, his mother, or his sister.

Doesn't matter which one, really. Even if it was his mother it wouldn't be as tasteless as the fact that what we're looking at is a year-old kid completely naked between the legs of some woman who is equally naked.

I have no problem with sex scenes, of course. It just strikes me as weird to see a movie that literally shows a year-old kid having sex and then the movie Shocked!

I'm reminded of a classic Saturday Night Live skit in which Jim Carrey, Will Ferrell and Chris Kattan go to a nightclub and viciously gang-hump every woman on the dance floor and then when the security guards drag them to the exit they're all screaming 'What??!

That being said, the movie is basically about a lot of incompetent white cops constantly pursuing someone named Sweetback, who has enough connections on the streets to afford him a good deal of protection and, of course, who is generally too cool for spoken dialogue.

We're brought into the dismal world of the inner cities, a plight for which the white man is endlessly blamed and, to whatever extent, this may be true, but for the most part this movie celebrates the condemnation of the white man for causing the black man to live such a terrible life, while at the same time celebrating the black man's inability or unwillingness to do anything about that life beyond blaming the white man for it.

It's a controversial theory that the black community is more interested in blaming white people for their lot in life than they are in doing something to better their situation, but this movie does absolutely nothing to refute it, which is also the case in a disturbing number of 'blaxploitation' movies.

Blaxploitation itself, as a term, is wildly misleading. I suppose it means that black people are blaxploited by greedy white men, hence their dismal urban lifestyle, while white people are whitesploited by black people, hence their constant appearance as greedy, racist, and complete drooling morons in 'blaxploitation' films.

Pam Grier must be rolling in her grave. I've heard the editing described as quick to disorient the viewer, which is not the case at all.

What you have here is obtrusive editing without reason, cuts simply for the sake of cutting. Like many s blaxploitation films, the movie halts in its tracks half a dozen times or so to turn into a music video for a little while, but the rough and awkward editing does not disorient the viewer, it stops the movie completely because it is totally devoid of meaning.

It takes your attention away from what is happening on screen and puts it into the weird colors and shapes dancing across the screen, which have nothing to do with whatever the meaning of the movie is.

This is not how you infuse a deep meaning or directorial significance onto a cheesy sexy movie, this is how you make a feature length film when you don't have enough story or material to fill that much screen time.

Sometimes lines of dialogue are literally played over more than once. The need for such things escapes me. In the movie's defense, it is very good at capturing the urban atmosphere in which the story takes place.

When you watch the movie, you are there on the streets with the characters, you just have a hard time trying to follow what they're doing, what they're talking about, who's chasing who and why a black man is dancing on a stool while some idiot white guy stands directly behind him, staring at his backside and laughing hysterically.

The street life is portrayed very effectively, you see how bad it is to live in these areas, but then you have to wonder about the suffering when you see scenes like the one where Sweetback is forced by a gang of hysterical bikers to endure the unending torture of making love to a white woman while they all sit around laughing.

What the hell is going on here? There literally is a point in the movie where Sweetback is running from the cops through the desert, becomes so decimated that he kills and eats a lizard, and then when he reaches civilization he stops to have sex with a prostitute in the dirt and have a couple of white cops stop by to giggle at him.

And not only that, if you make it through the movie you are not rewarded with the delivery of some message or cinematic meaning, you are literally rewarded with a series of shots showing a couple of dead dogs floating in a river.

He turns out to be just some guy, not Sweetback at all! So the cops don't do a thing at all to this guy, even though he willfully evaded the police.

I guess if you're paid to run then it's okay? The thing that really gets me is that white people are portrayed as so stupid and incompetent and endlessly idiotic in these movies, and yet at the same time they are the people who's power and influence black people simply cannot escape.

Given that, here's my question for you - Who do blaxploitation films really make look foolish in the end? Oh, and yes I realize that Pam Grier is alive and well.

Thanks for reading all the way to the end of my review Mr Pants 22 January You can say what you want about "blaxploitation" films.

If nothing else, they can be a lot of fun in their overt use of black stereotypes and semi-predictable storylines. Since their construction is so obvious, it is not the same as the way blacks were portrayed in a film like "Birth of a Nation.

It is difficult to imagine what it must have been like to have been in the audiences for this film's premiere, as a strong black character emerges to defend his existence against the Racist State.

The film uttered what nearly everybody has thought, and seeing it on the screen must have been a truly shocking experience.

Perhaps even cathartic, but that may be pushing it. I don't know. I wasn't there. Maybe it's a good sign that viewing such films today lends itself more to camp fun than any possible serious interpretation; it is a sign that we have moved on, at least a little bit.

Angry film about a black man who kills a white cop and is on the run from the cops for the entire film. Along the way he kills other people all white and has numerous sexual encounters.

I saw this years ago at a revival theatre. I had heard it was an excellent, graphic and powerful film about racism. For the record I'm a white guy.

What I saw was a dull, stupid, plot less, badly done movie with inaudible dialogue and scenes constantly going in and out of focus. The film makes it clear that white men are all racist jerks and have no problem with killing black guys.

And white women should just be used for sex.

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