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He decided that the film was going to be "about a brother getting the Man 's foot out of his ass. Several actors auditioned for the lead role of Sweetback, but told Van Peebles that they wouldn't do the film unless they were given more dialogue.

Van Peebles ended up playing the part himself. According to Van Peebles, during the first day of shooting, director of photography and head cameraman Bob Maxwell told him he could not mix two different shades of mechanical film lights, because he believed the results would not appear well on film.

Van Peebles told him to do it anyway. When he saw the rushes , Maxwell was overjoyed, and Van Peebles did not encounter that issue again during the shoot.

Van Peebles shot the film over a relatively short period of 19 days in order to reduce the possibility of the cast, most of whom were amateurs, showing on some days with haircuts or clothes different from the prior day.

He shot the film in what he referred to as "globs," where he would shoot entire sequences at a time. Because Van Peebles couldn't 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 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 and several key crew members were armed because it was dangerous to attempt to create a film without the support of the union.

One day, Van Peebles looked for his gun, and failed to find it. Van Peebles found out that someone had put it in the prop box.

When they filmed the scene in which Beetle is interrogated by police, who fire a gun next to both of his ears, it was feared that the real gun would be picked up instead of the prop.

While shooting a sequence with members of the Hells Angels, one of the bikers told Van Peebles they wanted to leave; Van Peebles responded by telling them they were paid to stay until the scene was over.

The biker took out a knife and started cleaning his fingernails with it. In response, Van Peebles snapped his fingers, and his crew members were standing there with rifles.

The bikers stayed to shoot the scene. Van Peebles had received a permit to set a car on fire, but had done so on a Friday; as a result, there was no time to have it filed before shooting the scene.

When the scene was shot, a fire truck showed up. This ended up in the final cut of the film. Van Peebles stated that he approached directing the film "like you do the cupboard when you're broke and hungry: throw in everything eatable and hope to come out on top with the seasoning, i.

To avoid putting myself into a corner and writing something I wouldn't be able to shoot, I made a list of the givens in the situation and tried to take those givens and juggle them into the final scenario.

Van Peebles wanted "a victorious film Van Peebles knew that in order to spread his message, the film "simply couldn't be a didactic discourse which would end up playing Van Peebles also wanted to make a film that would "be able to sustain itself as a viable commercial product Van Peebles wanted half of his shooting crew "to be third world people.

So at best a staggering amount of my crew would be relatively inexperienced. Any type of film requiring an enormous technical sophistication at the shooting stage should not be attempted.

In short, stay loose. The film's fast-paced montages and jump cuts were novel features for an American movie at the time. Stephen Holden from The New York Times commented that the film's editing had "a jazzy, improvisational quality, and the screen is often streaked with jarring psychedelic effects that illustrate Sweetback's alienation.

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.

Effects and music [ Very few look at film with sound considered as a creative third dimension. So I calculate the scenario in such a way that sound can be used as an integral part of the film.

Van Peebles' secretary was dating one of the bandmembers, and convinced him to contact them about performing the music for the film.

Van Peebles projected scenes from the film as the band performed the music. 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. The film was released on April 23, 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. After Sweetback received an X rating from the Motion Picture Association of America , inspiring the advertising tagline "Rated X by an all-white jury ", [15] and a theater in Boston cut nine minutes out of the film, 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.

A notice at the beginning of the DVD states "In order to comply with UK law the Protection of Children Act , 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".

Film critic Roger Ebert cited the ending as a reason for the film not to be labeled as an exploitation film.

The New York Times critic Clayton Riley viewed the film favorably, commenting on its aesthetic innovation, but stated of the character of Sweetback that he "is the ultimate sexualist in whose seemingly vacant eyes and unrevealing mouth are written the protocols of American domestic colonialism.

We may not want him to exist but he does. Nicky Baxter of Metroactive 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.

Newton , devoting an entire issue of The Black Panther to the film's revolutionary implications, [6] [20] celebrated and welcomed the film as "the first truly revolutionary Black film made [ 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.

The film became required viewing for members of Black Panther Party. A few months after the publication of Newton's article, historian Lerone Bennett Jr.

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.

And it is mischievous and reactionary finally for anyone to suggest to black people in that they are going to be able to screw their way across the Red Sea.

Fucking will not set you free. If fucking freed, black people would have celebrated the millennium years ago. Madhubuti 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.

This was an example of how to make a film a real movie , distribute it yourself, and most important, get paid. Without Sweetback who knows if there could have been a [ Robert Reid-Pharr wrote that " In , Mario Van Peebles directed and starred as his father in Baadasssss!

The film was a critical but not commercial success. In a 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.

From Wikipedia, the free encyclopedia. For the band, see Sweetback band. Theatrical release poster. Release date. Running time. Main article: Sweet Sweetback's Baadasssss Song soundtrack.

The Numbers. Retrieved January 11, Aquarium Drunkard. Retrieved September 9, Retrieved August 31, Chicago Sun-Times. Retrieved August 13, Rediscovering Herman Raucher.

That's Blaxploitation! Examples include studio productions like Shaft and Foxy Brown , which place strong black characters as action heroes battling campy villains in urban ghettos, while managing to avoid discussing race in any meaningful way.

Sweet Sweetback is exceptional for the grittiness of its characters and their interactions. That said, Sweet Sweetback never manages to deliver much suspense, meaningful drama or rich characters.

The decision to have Sweetback utter only a handful of dialog throughout the entire film was compelling in concept—no doubt intending to serve the character as a silent bystander guilty more for his skin color than for his actions.

On the other hand, the film is a masterpiece of low-budget, guerrilla style moviemaking. Despite the fact that Peebles already had a three-picture deal in place with Columbia, no studio in Hollywood wanted to be attached to a film dealing with such radical racial elements.

The result is a near perfect cinematic encapsulation of the bleakness and disillusionment of African-American urban life at the time. One of the stations here used to air this and its grenre brethen late night.

Even edited to tv it was a powerful sight. Skip to content. Your Halloween edition of this feature was from beyond.

Sweet Sweetbacks Badass Song Sex Scene Video

Melvin Van Peebles - Sweetback's Theme from Sweet Sweetback’s Baadasssss Song

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