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24 out of 27 people found the following comment useful :-
As long as you don't study it for its technique..., 1 May 2003
Author: morakanabad from The Celluloid Pit

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... well, a bad one, and coupled with its mic-in-the-cameraman's-back- pocket sound mix, an awful lot of the first half of the movie is just shy of being incomprehensible. 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... hell, they don't even seem to care that he doesn't need to move in order to drive his women wild. 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... well, nothing much, really, except maybe a shred of belief in the power of an act of will, and perhaps the promise of a sequel, that you feel like taking the movie to task for its gaping technical flaws again. 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.

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26 out of 31 people found the following comment useful :-
A must-see for fans of weirdness!, 14 February 2005

Author: Brandt Sponseller from New York City

Considered the first blaxploitation film, Sweet Sweetback's Baadasssss Song features Melvin Van Peebles (who also directed, wrote, produced, edited and did music for the film) as Sweetback, a Los Angeles-area "male prostitute"/"sex performer" (who only has relations with females). He agrees to be taken in to a police station as a suspect just to make a couple cops look good (because they are tolerant towards the cathouse he lives in). On the way, they pick up a Black Panther and start beating him senseless. Sweetback bludgeons and stabs the two cops with his handcuffs (one end is open) and the bulk of the film has him on the run. Can he make it to Mexico before he's caught?

Sweet Sweetback's Baadasssss Song has a lot of historical significance. It is an early independent film in what's considered the current "modern" style, it is one of the earliest mostly black films of its era (there were all black films earlier, such as Oscar Micheaux's work, but they disappeared for awhile), it was controversial (it initially earned an X rating (later changed to an R) and touted that fact proudly as a tagline), it was made for $150 thousand but grossed $15 million, and most importantly perhaps for some film lovers, it is credited with starting the blaxploitation craze in the 1970s. It is worth watching for students of film on those merits alone.

But none of those facts alone make it a good film, and none affect my rating. In terms of quality, Sweet Sweetback's Baadasssss Song gets my vaunted 5 out of 10 rating, which is usually reserved for "so bad they're good" films. Although it is loaded with flaws, as one might expect from a low budget film from the era shot guerilla-style on the streets of Los Angeles, it is a hoot to watch. On the weirdness scale, it definitely earns a 10.

Sweet Sweetback's Baadasssss Song is firmly mired in the psychedelic era. Peebles gives us frequent shots with negative or false colors near the beginning of the film. More frequently, he directs scenes so they have various "altered reality" allusions--time stretching, repeating, stopping and stuttering, bizarre actions and reactions from various characters, rambling nonsense, and so on--which for the viewer approximate the perception of someone who is wasted almost to the point of passing out. These scenes often play like some kind of avant-garde performance art, and are as much a focus of the film as any of the usually cited "political" messages rooted in racially oriented turmoil and disparity. Perhaps the intended theme was that race relations, and the urban reality of blacks to that point were as bizarre as acid trips, some good, some bad.

The music is equally bizarre (which I love), with a recurrent jazz/funk piece with an almost atonal saxophone melody being the unifier. Some of the vocal music is a veritable Greek chorus, narrating action and emotions, providing critiques and so on. Peebles also frequently layers musical tracks, so two or more can be playing at once for a minute or two.

The film is also notable and admirable for its abundance of almost graphic sex scenes and gratuitous nudity. 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.

At one point, Peebles and/or director of photography Robert Maxwell appear to have hit the streets of Los Angeles, filming people at random after they asked them if they've seen Sweetback (the character). These shots are inserted into the extended chase scene near the end of the film (2/3 to 3/4 of the film is actually an extended chase scene). 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.--look like they may have been randomly taken by Peebles with his home camera with the hopes of one day using them in a film.

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. Make sure you also check out How to Get the Man's Foot Outta Your Ass (aka Baadasssss!), Peebles' son Mario's 2003 film about Sweet Sweetback's Baadasssss Song.

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20 out of 24 people found the following comment useful :-
The absolute beginning of a real "black" presence., 3 September 2001
Author: Frederick Reeves (fereeves@earthlink.net) from United States

I saw this movie in Boulder CO in 1971 in an audience that was half black and half white in a community in the mountains that was 99.4% white. Blacks in the audience obviously got the raucous humor only the blacks could get living in America...the white's didn't have a clue. As a Welfare Rights Organizer at the time i obviously identified with the black situation. This was the FIRST movie from the black point of view.

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... and he blasted the black myths on and off the screen.

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22 out of 28 people found the following comment useful :-
The Cinema of Melvin Van Peebles., 27 August 2005

Author: Captain_Couth (sirjosephu@aol.com) from Sacramento, CA

Sweet Sweetback's Baad Asssss Song (1971) was a independent marvel from Melvin Van Peebles. 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. Before he made this film and the small success of WATERMELON MAN, several Hollywood Studios wanted him to be a Black expert. 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 (1971). This book is cool, it also has a lot of vital information, a script to the movie and a copy of the soundtrack.

Mr. 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.

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10 out of 11 people found the following comment useful :-
From Another Era, 27 August 2006

Author: momohund from United States

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." I believe this film opened the doors to allow black artistic media to be critical about white America, society, politics and corruption that generally would have been censored before. Sometimes I wonder if this helped pave the way for people like Richard Pryor, Eddie Murphy and even Dave Chapelle. My father, a white man, told me that when he went to see this film back in 1971, 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." Nowadays people wouldn't really respond to that, not even black society I don't think, but back then it could have gotten you lynched, even in 1971. 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.

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15 out of 22 people found the following comment useful :-
The one that started it all ..., 22 January 1999

Author: Mr Pants (maestropants@yahoo.com) from Columbus, Ohio

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." Melvin Van Peebles put this thing together by himself (with a little monetary help from Bill Cosby), and while the technical quality is not exactly Hollywood, neither is the content. 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.

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8 out of 11 people found the following comment useful :-
One of the greatest underground hits of the 70s, 5 November 2002

Author: funkyfry from Oakland CA

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 1971 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.

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9 out of 14 people found the following comment useful :-
Ahead of its time!, 3 May 2004

Author: Chemi Che-Mponda (chemiche3@yahoo.com) from Cambridge, MA

*** This comment may contain spoilers ***

I had heard a lot about Sweet Sweetback's Baad Asssss Song over the years, but finally got to see it yesterday, 5-2-04.

I have to say that I can see how it opened up a new genre..the Blaxploitation films. Whoa! 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.

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2 out of 2 people found the following comment useful :-
A ground breaker unlike any other, 12 March 2008

Author: Alex P (miskatonic86) from Baltimore, Maryland

Before Spike Lee brought racial tensions out on film with DO THE RIGHT THING, there was Melvin van Peebles. While van Peebles might not be as well-known as Spike Lee, he was a groundbreaking director in African-American film. Not only was he one of the first African-American filmmakers, he was actually a revolutionary. And SWEET SWEETBACK'S BAADASSSSS SONG is a testament to that.

This is the story of Sweetback (van Peebles), a male prostitute on the run from "the man," (Caucasian police officers) for saving a Black Panther from a group of racist groups. While he's being tracked down, he gets some help from the ghetto community and a group of Hell's Angels.

SWEET SWEETBACK'S BAADASSSSS SONG might be just yet another cheap exploitation film, but it was something revolutionary in the fact that director van Peebles was using messages never before seen in film. He is the first to portray African-American protagonists as real badasses, setting of a chain of blaxploitation films in the 70s. And the content-there is one scene with interracial sex, a black man with a white woman. Before SWEET SWEETBACK, that was a big no-no in cinema.

What I really like about this film is the funky soundtrack by Earth, Wind, and Fire. Even if you don't like blaxploitation films, you have to admit, they usually have cool soundtracks, Isaac Hayes in SHAFT and Curtis Mayfield in SUPERFLY are other examples. This film establishes Melvin van Peebles as a truly baadasssss director

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3 out of 4 people found the following comment useful :-
Sweeter by far..., 3 March 2008

Author: Mark Edwards from Blandbury, England

This is a landmark film for many reasons, and although it is rough around the edges, I urge everyone to at least watch it once, and then watch the story of the making of this film, Baadasssss! (A.K.A. How to Get the Man's Foot Outta Your Ass), made by the directors son, Mario Van Peebles.

It is very easy for a modern audience to perhaps overlook this film as one of the slew of 'Blaxpliotation' films produced in the 70s, however this stands out firstly as virtually the originator of that mode of films, and as a crusade for a young, talented black artist and director to make a film that is both honest and challenging about the representation of black people in cinema.

If nothing else you must respect Melvin Van Peebles for the Guerrilla film making techniques that created this movie.

This film is a great argument for the importance to minority groups within any society to gain access to and control of media production in order to challenge dominant ideologies and representations put forward in mainstream media.

It is also virtually impossible to view Baadasssss! without a tear coming to your eyes, so difficult and harrowing was Melvin Van Peebles journey to get this film made.

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