“I can't grow more film.”
—Melvin Peebles
bemoaning another cash-flow problem.
p>In
BAADASSSSS!, a son directing,
producing and starring in a feature about his father's breakthrough film thirty
years back brings a host of images and issues to the screen that are bound to
stimulate thought. Mario Van Peebles has done his family proud by pulling
together this blackumentary that tells it like it was even as it falls into the
trap of stereotyping others—ten steps forward, two back.
Set in 1971 the narrative sections look and feel great: Mario's
(Khleo Thomas, playing Melvin's son with innocent ease) Afro looks fine, the dog
Nixon is an excellent metaphor and a long shot with the Capitol Records building
in background adds discreet reinforcement of time and place.
Sprinkled throughout are cutaways to interview quotes from the
principals. These work best in the credits where the actors step aside and let
the real players have a word or two. However, one of the finest pretenders is
T.K. Carter's impersonation of Bill Cosby—any doubts that his looks raise are
immediately quashed by the tone and rhythm of his voice. Earth, Wind & Fire
also convince, but sadly, their music takes a back seat to the plot point of a
five hundred dollar cheque that Mario reminds his dad “you don't have.”
Rainn Wilson shines as Bill Harris, nutcase producer
extraordinaire. “He who has the gold makes the rules.” As he and Peebles
cobble together the cash and crew (a wonderful depiction of black/white banter
and cooperation), they manage a hilarious escapade in bed. At first we're
wondering if both have been in touch with their “feminine” side, only to have
their bedmates emerge from under the sheets. Not so subtle was B-movie mogul
Bert's (Adam West) “dropping of the towel” as the filmmakers continued their
quest for cash. In supporting roles, Joy Bryant's (Priscilla) charged sexuality
sizzles while sound assistant/security hulk and—finally—gentle giant Terry
Crews sails through his role as Big T with aplomb.
Throughout it all is the subtext that a film which shows “dirty
cops” for the bullies and racists they are needs to be made—at any cost. The
extent of that price was deftly illustrated in the scene when, driving home
after a shoot, the crew is arrested because the equipment found in their car
“must have been stolen,” yet their leader remains safe at home, making no
attempt to bail them out. “This is a war—it's bigger than two days in jail!”
Finally complete, sale and distribution are the next obstacles to
emerge. Eventually, the film shifts to Detroit, one of 2 venues (Atlanta the
other) that agrees to screen the X-rated flick. Peebles convinces the managers
to show it by itself rather than sandwiched between two other “safer”
entertainments: His story deserves to stand alone. No doubt that it does, but
by portraying the theatre's management, ticket seller—even the refreshment-stand kid—as tight-fisted near-Merchant of Venice caricatures, the film
immediately loses its moral authority to criticize the attitudes and prejudices
of others.
Still, this is an important film if for no other reason than its
comment about the value (and paradoxically the power) that in-your-face art
has. Particularly when—as here—the expected protagonists (black, brown or
white) work together, ply their craft and create a work that provides some
comfort to the minority and a large dose of caution to the majority. Taken in
that light, BAADASSSSS! is a worthy companion to many of James Baldwin's
societal observations. JWR