"Sweet Sweetback's Baadasssss Song": 1971 жылғы мәдени және тарихи маңызы бар фильм

1971 blaxploitation film by Melvin Van Peebles

The musical score of Sweet Sweetback's Baadasssss Song was performed by Earth, Wind & Fire. Van Peebles did not have money for traditional advertising methods, so he released the soundtrack album prior to the film's release in order to generate publicity. Initially, the film was screened in only two theaters in the United States (in Atlanta and Detroit). It went on to gross $15.2 million at the box office. Huey P. Newton celebrated and welcomed the film's revolutionary implications, and Sweetback became required viewing for members of the Black Panther Party. According to Variety, it demonstrated to Hollywood that films which portrayed "militant" Blacks could be highly profitable, leading to the creation of the blaxploitation genre, although critic Roger Ebert did not consider this example of Van Peebles' work to be an exploitation film. In 2020, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

A young African American orphan is sheltered by a Los Angeles brothel in the 1940s. Working as a towel boy, he is seduced by one of the prostitutes. The women name him "Sweet Sweetback" in honor of his sexual prowess and large penis. As an adult, Sweetback performs in the whorehouse sex show. One night, two white LAPD officers come in to speak to Sweetback's boss, Beetle. A black man has been murdered, and there is pressure from the black community to bring in a suspect. The police suggest arresting Sweetback to appease their superiors, blame him for the crime, and then release him a few days later for lack of evidence. Beetle agrees, and they arrest Sweetback. On the way to the police station, the officers also arrest a young Black Panther named Mu Mu after some trouble. They handcuff him to Sweetback, but when Mu Mu insults the officers, they take both men out of the car, undo the handcuff from Mu Mu, and beat him. In response, Sweetback fashions his handcuffs into brass knuckles and beats the officers, putting them into comas. Sweetback returns to the whorehouse for help, but Beetle refuses out of fear of being arrested himself. As Sweetback leaves, he is arrested and beaten by order of the police chief, seeking information about Mu Mu's whereabouts, but escapes when a black revolutionary throws a molotov cocktail at the police car transporting him to the station for more severe interrogation. He next visits an old girlfriend, who similarly refuses him aid but cuts his handcuffs off in exchange for sex. Sweetback then asks his priest for help, but he refuses for fear of the police shutting down the church's drug rehab center. Police officers interrogate Beetle, seeking to discover Sweetback's whereabouts, rendering him deaf by firing a gun against each ear. Sweetback meets up with Mu Mu and black gangsters drive them through South Central Los Angeles to the outskirts. Stopping overnight at a seemingly abandoned building, they discover it is a safe house for the Hells Angels. Their helmeted president challenges Sweetback to a duel: asked to decide the weapon and discovering she is a woman, he chooses sex and is judged to win. The bikers leave the men in their club to await a member of the all black East Bay Dragons who will get them to Mexico. During the night, the club is raided by two policemen with drawn guns. Sweetback resists arrest and kills both officers in self defense, but Mu Mu is badly wounded. The next morning, the Dragon arrives, but his motorcycle can only carry one; Sweetback asks him to take Mu Mu, as the activist is their future. As Sweetback and Mu Mu continue to evade arrest, pressure mounts on the police; the police chief warns his staff that the fugitives' example could prompt a black uprising. The police badly beat up a black man sleeping with a white woman, believing him to be probably one of the fugitives, and that he deserves a beating in any case. Later, Beetle, now in a wheelchair following the police brutality, is brought to the morgue to identify a body believed to be Sweetback and smiles when he sees it is someone else. As the police trawl black areas for him, they find Sweetback's biological and rather confused mother, who reveals that his birth name is Leroy. Sweetback pays a hippie to switch clothes with him, deceiving a police helicopter which sends a patrol car in pursuit. Sweetback was also wounded in the shootout and both stows away and hitches rides on trucks and a train heading south. Running through arid country, he survives by drinking from a puddle and eating a lizard. When police hear he might be at a rural hippie musical event, he successfully disguises himself by simulating sex in the bushes. He is later spotted and police borrow a farmer's hunting dogs to track him. Realising he will cross the border before they reach him, a policeman releases the dogs, expecting them to catch and kill him. However, at the Tijuana River, Sweetback stabs the dogs and escapes into Mexico, swearing to return to "collect some dues".

During production on Watermelon Man for Columbia Pictures, Van Peebles attempted to rewrite the script in order to change it from a comedy poking fun at white liberals into the first black power film. The writer, Herman Raucher, who had based the script on friends of his who expressed liberal sentiments while still holding onto bigoted beliefs, objected to Van Peebles' efforts because he felt that the movie should be a parody of liberal culture. Raucher ultimately exercised a clause in his contract that allowed him to novelize his own script, effectively preventing Peebles from too radically changing the film. After Watermelon Man proved to be a financial success, Van Peebles was offered a three picture contract. While the deal was still up in the air, Van Peebles—still wanting to create the first black power film—developed the story for Sweet Sweetback's Baadasssss Song. The initial idea for the film did not come clearly to him at first. One day, Van Peebles drove into the Mojave desert, turned off the highway, and drove over the rise of a hill. He parked the car, got out, and squatted down facing the sun. He decided that the film was going to be "about a brother getting the Man's foot out of his ass." Because no studio would finance the film, Van Peebles put his own money into the production, and shot it independently. Van Peebles was given a $50,000 loan by Bill Cosby to complete the film. "Cosby didn't want an equity part," according to Van Peebles. "He just wanted his money back." Van Peebles wound up with controlling ownership of the film. Several actors auditioned for the lead role of Sweetback, but told Van Peebles that they would not do the film unless they were given more dialogue. Van Peebles ended up playing the part himself. Because Van Peebles could not afford a stunt man, he performed all of the stunts himself, which also included appearing in several unsimulated sex scenes. At one point in the shoot, Van Peebles was forced to jump off a bridge. Bob Maxwell later stated, "Well, that's great, Mel, but let's do it again." Van Peebles ended up performing the stunt nine times. Van Peebles contracted gonorrhea when filming one of the many sex scenes, and successfully applied to the Directors Guild in order to get workers' compensation because he was "hurt on the job". Van Peebles used the money to purchase more film. Van Peebles wanted "a victorious film where niggers could walk out standing tall instead of avoiding each other's eyes, looking once again like they'd had it". Van Peebles was aware of the fact that films produced by major studios would appear to be more polished than low budget independently made features, and was determined to make a film that "[looked] as good as anything one of the major studios could turn out". In The 50 Most Influential Black Films: A Celebration of African American Talent, Determination, and Creativity, author S. Torriano Berry writes that the film's "odd camera angles, superimpositions, reverse key effects, box and matting effects, rack focus shots, extreme zooms, stop motion and step printing, and an abundance of jittery handheld camera work all helped to express the paranoid nightmare that [Sweetback's] life had become".

Since Van Peebles did not have the money to hire a composer, he composed the film's music score himself. Because he did not know how to read or write music, he numbered all of the keys on a piano so he could remember the melodies. Van Peebles recalls that "music was not used as a selling tool in movies at the time. Even musicals, it would take three months after the release of the movie before they would bring out an album." Because Van Peebles did not have any money for traditional advertising methods, he decided that by releasing a soundtrack album in anticipation of the film's release, he could help build awareness for the film with its music.

Sweet Sweetback's Baadasssss Song was released on March 31, 1971, at the Grand Circus Theatre in Detroit and on April 2, 1971, at the Coronet Theatre in Atlanta. Melvin Van Peebles stated that "at first, only two theaters in the United States would show the picture: one in Detroit, and one in Atlanta. The first night in Detroit, it broke all the theater's records, and that was only on the strength of the title alone, since nobody had seen it yet. By the second day, people would take their lunch and sit through it three times. I knew that I was finally talking to my audience. Sweet Sweetback's Baadasssss Song made thousands of dollars in its first day." It grossed $70,000 in its first week in Detroit. and went on to gross over $15 million at the box office. distributors and exhibitors (including the Music Hall theater in Boston) removed nine minutes. Van Peebles stated, "Should the rest of the community submit to your censorship that is its business, but White standards shall no longer be imposed on the Black community." The Region 2 DVD release from BFI Video alters the opening sex sequences. A notice at the beginning of the DVD states "In order to comply with UK law (the Protection of Children Act 1978), a number of images in the opening sequence of this film have been obscured."

Critical response was mixed. Kevin Thomas in the Los Angeles Times described the film as "a series of stark, earthy vignettes, Van Peebles evokes the vitality, humor, pain, despair and omnipresent fear that is life for so many African Americans". Stephen Holden in The New York Times called it "an innovative, yet politically inflammatory film". The end of the film was shocking to Black viewers who had expected that Sweetback would perish at the hands of the police—a common, even inevitable, fate of Black men "on the run" in prior films. Film critic Roger Ebert cited the ending as a reason for the film not to be labeled as an exploitation film. Metroactives Nicky Baxter's response is mixed: "Sweet Sweetback introduced the biggest and baddest buck of the [blaxploitation era]. Warts and all, the film is perhaps the closest analogy to the progressive aims of the then flourishing Black Arts movement. Indeed, it can be argued that because it was written, produced and directed by an American born African outside of Hollywood, the film is not truly part of the blaxploitation genre, yet it cannot be denied that it shares certain thematic similarities. The film works best when it follows Sweetback's odyssey from stud boy to proto nationalist consciousness. Unlike the Horatio Alger style integrationism propagated in past films about blacks, here we see an outlaw among outlaws, nourished by a community segregated from the mainstream. It is in this disenfranchised community and not the sterile offices of the NAACP that he seeks and finds refuge. The sordid sexual trysts, the faux fantasies in the desert are, finally, less interesting than Sweetback's quest for self realization."

Huey P. Newton, devoting an entire issue of The Black Panther to the film's revolutionary implications, celebrated and welcomed the film as "the first truly revolutionary Black film made [ ] presented to us by a Black man." Newton wrote that Sweetback "presents the need for unity among all members and institutions within the community of victims," contending that this is evidenced by the opening credits which state the film stars "The Black Community," a collective protagonist engaged in various acts of community solidarity that aid Sweetback in escaping. Newton further argued that "the film demonstrates the importance of unity and love between Black men and women," as demonstrated "in the scene where the woman makes love to the young boy but in fact baptizes him into his true manhood". A few months after the publication of Newton's article, historian Lerone Bennett Jr. responded with an essay on the film in Ebony, titled "The Emancipation Orgasm: Sweetback in Wonderland," in which he discussed the film's "black aesthetic". Bennett argued that the film romanticized the poverty and misery of the ghetto and that "some men foolishly identify the black aesthetic with empty bellies and big bottomed prostitutes." Bennett concluded that the film is "neither revolutionary nor black because it presents the spectator with sterile daydreams and a superhero who is ahistorical, selfishly individualist with no revolutionary program, who acts out of panic and desperation." Bennett described Sweetback's sexual initiation at ten years old as the "rape of a child by a 40 year old prostitute". Poet and author Haki R. Madhubuti (then known as Don L. Lee) agreed with Bennett's assessment of the film, stating that it was "a limited, money making, auto biographical fantasy of the odyssey of one Melvin Van Peebles through what he considered to be the Black community."

Sweet Sweetback's Baadasssss Song is considered to be an important film in the history of African American cinema. The film was credited by Variety as leading to the creation of the blaxploitation genre, largely consisting of exploitation films made by white directors. Robert Reid Pharr wrote that " [Sweetback] was seen (correctly I believe) as the first in a long line of so called Blaxploitation features " and goes on to say that Van Peebles was "one of the first artists to bring not only compelling but realistic images of Black Americans into mainstream cinemas, breaking with decades long traditions "

In 2004, Mario Van Peebles directed and starred as his father in Baadasssss!, a biopic about the making of Sweet Sweetback. The film was a critical but not commercial success. In a 2019 reference book published by the Museum of Modern Art to commemorate key works of art in its collection, Anne Morra, Associate Curator of the department of film, says Sweetback's importance goes beyond the history of filmmaking and that its impact on "social consciousness, culture, and political discourse remains indisputable".