Dolemite (1975): Boom Goes the Dolemite

 

My first introduction to Rudy Ray Moore and his 1975 Blaxploitation classic, Dolemite, came in the form of the Xenon VHS release. My memory is a little fuzzy about the first time I watched Dolemite on my own, but I do distinctly recall putting the film on one night when a group of friends were over at my place. The results were as expected: lots and lots of uncontrollable laughter. Of course, being in our early 20s, we were consuming beverages of the alcoholic variety, which did nothing but make us even more susceptible to the hilarity that was unfolding on screen. It was a true party movie experience, and if my memory serves correct, the first time I had been in a larger group of people all together laughing and enjoying a film for being unintentionally silly.

Flash forward some 15-20 years, and once again Dolemite is back, and this time he’s being given his due in the form of a Blu-ray release by Vinegar Syndrome. The reason why I say given his due is because not only does Dolemite and the films of Rudy Ray Moore deserve the high-quality love that a company like Vin Syn can give, this is the first time Dolemite will be seen as intended, in its original aspect ratio of 1.85:1. Now, the reason why this is important is because every previous home video release of Dolemite, my VHS copy included, is in the wrong aspect ratio (full frame), which led to an unbelievable amount of shots where the boom mic is visible.

Naturally, the presence of a boom mic would make the film seem even more incompetent than it already is, so seeing it in the correct aspect ratio helps give the film a little more technical validity. With that said, even without the inordinate amount of sneaky boom mics, Dolemite remains one of the silliest and down right insane B-Movies ever made, and there’s really no aspect ratio that can change that.

Directed by D'Urville Martin, who is best known as an actor having starred in a number of significant Blaxploitation movies (Dolemite included), Dolemite is the simple tale of a pimp who looks to take out the people who had him sent to prison. This includes a handful of corrupt cops as well as Dolemite’s arch nemesis, Willie Greene (D’Urville Martin), all of whom will do whatever it takes to make sure Dolemite is sent back to prison, or worse yet, dead.

While the basic plotline is simple, Dolemite is far from a simple film. In fact, Dolemite is so sporadic and wild that it’s almost impossible to comprehend what anyone could have been thinking while making it. Dolemite feels more like a series of over-the-top vignettes poised to position Dolemite and performer Rudy Ray Moore as a sort of renaissance man with street cred than it does an actual film.

Much like the more well known Blaxploitation lead characters that came before him, Dolemite is a sort of ghetto superhero; a man who has risen above through sheer force of personality and presence, only to get what he wants, how he wants, when he wants, and all while sticking it to the man and anyone else who dares to cross his path. What you have here in Dolemite is a character who has nice cars, nice clothes, owns a nightclub, and even commands a small army of karate-trained prostitutes ready to do battle on his behalf. Dude has got it made, and he’s got it made because he made it for himself, by himself and shares it with those who stand by his side.

Throughout the course of Dolemite, there are numerous moments that feed into what is seemingly just a vanity project for Rudy Ray Moore. Moore, who attained minor recognition as a raunchy standup comedian, takes more than one opportunity to spew his creative and often hysterical rhymes. This is most significant during the third act of the film, where there is an uncomfortable amount of time dedicated to a stage show in Dolemite’s club. This includes everything from a musical performance, a tribal dance number and, naturally, a spoken word set via the man of the hour himself, Dolemite. All in all, the sequence is interesting because it’s a nice window into black culture of the time, and the performances are all genuinely great. However, it comes at the expense of pacing, as having an extended 15 minute stage show brings the film to a complete halt. Thankfully, this sequence leads to the film’s finale, which is a no holds barred action fest of silly inept karate moves and other various action atrocities.

The new Blu-ray release from Vinegar Syndrome is stellar and very much on par with what I have come to expect from the niche distribution label (their releases of Madman and Christmas Evil come HIGHLY recommended). The transfer – which was scanned and restored in 2k from a recently discovered 35mm negative – is impressive, with a good amount of detail and colors that pop right off the screen. It's very fitting for such a colorful movie (and such a colorful character at that). The special features are also noteworthy, with a solid 24 min documentary about the making of Dolemite, a full-frame “Boom Mic” version of the film and a 23 minute interview with Dolemite co-star and long-time collaborator, Lady Reed. The cream of the born insecure crop, however, comes from the commentary provided by Rudy Ray Moore biographer, Mark Jason Murray, which is insightful, and extremely informative about both the film and Moore himself.

Dolemite the film, and character alike, is funny (albeit unintentionally), it’s violent, vibrant, ridiculous, and sexy (well, it tries to be). It's exploitation at its finest, and never has there been a better time to jump on the Rudy Ray Moore train than now.

 

Youngblood (1978): True Tales from the ‘Hood

Opening with a mean slo-mo basketball sequence filled with short shorts, knee high socks and other questionable, yet eye appealing, 70s fashion, we are introduced to an afro clad young man named Youngblood. It’s immediately clear that Youngblood (Bryan O’Dell) is one cool cat who’s brimming with style and swagger, but as a young man living beneath the weight and pressures of South-Central Los Angeles, he begins to make some bad decisions, including dropping out of school to join a local street gang called The Kingsmen. The Kingsmen are your typical low-level street gang, but as the film unfolds, they begin to get into heavier and certainly more dangerous shit as they aim to take out a major drug cartel, resulting in an all out war.

Written by Paul Carter Harrison and directed by Noel Nosseck, Youngblood is a fairly standard, urban set morality tale with enough depth to give the characters and the world they live in some weight. While he has turned to a life of crime, Youngblood (as well as his counterparts) is very much a victim; a victim of the pressures of being a young black man growing up in a neighborhood where life is nothing short of a daily struggle. Youngblood is forced, largely in part due to peer pressure, to live up to the negative perceptions of what a black man should be, something that has been thrust upon him by society, his friends and even himself.

Of course, bad decisions also come with being a dumb kid; a dumb kid too egotistical and immature to know better, and most bad decisions stem from ego and/or immaturity. Furthermore, Youngblood has no male role model to teach him what it takes to be a “man.” In fact, the closest thing he has to a father figure is his brother, Reggie (David Pendleton); however, Reggie isn’t on the straight and narrow himself, essentially being a high level version of Youngblood. Though, it should be said that, to no avail, he does try to keep Youngblood in line. The only truly positive influence on Youngblood would come from his mother, but unfortunately, however, her influence and strength is yet to be seen let alone understood by Youngblood at this point in his life. Her sacrifice as a hardworking single mother is commendable, even if it goes unnoticed by Youngblood, but there is little she can do to block his unfolding path.

One character who does play a major part in Youngblood’s life as both a role model and, in a way, a father figure, is the leader of The Kingsmen, Rommel (Lawrence Hilton-Jacobs). Rommel is nearly as prominent as that of the titular character, and in many ways, is going through life in a fashion that is parallel to Youngblood, just from a very different angle. Rommel is living with his own issues as a man, being a Vietnam vet who feels as if he’s been left behind, despite the fact that he sacrificed his life for our country.

As is the case with so many veterans, Rommel HAS been left behind to a certain extent; however, there is also a part of Rommel that uses this as an excuse to not do better for himself and his wife. And again, this likely comes from pride. It should be said that Rommel’s wife is, in theory, very similar to Youngblood’s mother, in that she is the strong female backbone holding up the fort, while her husband is out acting like an immature child. The women in Youngblood are certainly the only grounded characters, holding together a weakened structure without the help of no one.

As you’d expect from a film such as Youngblood, there are lessons to be learned and consequences to be paid, and they are certainly paid in full, making Youngblood fit in perfectly with your typical morality tale driven film. And that’s not a bad thing. The unfortunate aspect about the tale of Youngblood is that it’s a story that could be told about any number of nameless youths living in America right now, something that makes the film as relevant today as it was when it was released in 1978.

Black Belt Jones: Man, You Come Right Out of A Comic Book

Pitting a karate school against the mob, Black Belt Jones is the classic tale of the big guy bullying the little guy, all in the name of greed. In this case, it's the mob forcing their lower-level "associates," Pinky and his gang of thugs, to push out a local karate school so they can profit off a future land redevelopment. When Pinky and his boys go a little too far with their pushing and the karate school's owner is accidentally killed, one time student turned government agent, Black Belt Jones gets involved. And boy is he someone that you do not want to get involved with. Unless you're a lady, that is.    

Taking full advantage of the popularity of Blaxploitation movies, as well as the boom in Martial Art's films, 1974's Black Belt Jones is a culmination of its own era's popular genre cinema. The film stars the great Jim "the Dragon" Kelly, who, hot off of 1973's Enter the Dragon, was the perfect person to center a film that would take from both the popularity of Enter the Dragon, as well as his own character in that film, Williams, who was a representation of Blaxploitation cinema meant to reach a larger demographic. So, there you have it, the circle of cinematic life thanks to Black Belt Jones and Enter the Dragon.  

Black Belt Jones' connection to Enter the Dragon goes further as both films share the same director, Robert Clouse, who, besides directing both Kelly and Bruce Lee, has also directed Jackie Chan in The Big Brawl, and even the first few Cynthia Rothrock China O'Brien films. So he certainly has some solid action genre cred under his (black) belt, but I wouldn't say that Black Belt Jones is anything to marvel at on a serious action level. It's all pretty standard over-the-top stuff that places a much larger focus on fun than it does realistic hard-hitting action.    

There's a certain charm filled swagger that Black Belt Jones carries, which comes from the character, as well as the film and how it presents itself. It's very light and goofy and avoids some of the darker trappings that would be found in many Blaxploitation films. The racism level in the movie is very low, to the point where even the police officers seem to be smitten by just how cool Jones is, as opposed to being of the oppressive variety. Even the incredibly stereotypical Italian mobsters, who are the film's main antagonists, are silly (outside of the intimidating Mel Novak) in an almost parodic way. I love me a dark grimy Exploitation film, but it's nice to have one that isn't just mean spirited for the sake of exploitation.

What makes Black Belt Jones such an enjoyable ride is how much fun everyone seems to be having in the film. The interactions between certain characters are quite delightful and a lot of that has to do with Kelly's presence. He has such a great look, with that huge afro standing on top of his tall, lanky frame with that sullen look on his face. A sullen look that, in a heartbeat, can switch to the most natural and charismatic of smiles. He might not be the best actor on the block, but he can do what needs to be done physically, he has charm and, most importantly, a great presence.

Some might point to the movie as being a "so bad it's good" type of film, but I believe that people confuse the purposeful humor with cheese-lathered incompetence. Black Belt Jones is exactly what it was meant to be, fun. Black Belt Jones is supposed to be a good time, and it shows in scenes where the karate school students (in complete karate gi uniform, of course) are seen doing synchronized martial art's moves at a funeral. Or, having Gloria Hendry run around open handed karate chopping bad dudes, yelling HI-YA!, like it's no one's business. Moreover, how serious is any film trying to be when they cast Scatman Crothers as a karate master?!

Black Belt Jones is a film that, in a way, has an innocence about it and could play perfectly to most any crowd that's open to having a good time. In that sense, it reminds me a lot of 1985's The Last Dragon with its tone, its sense of humor, and comic book feel. Not to say that Black Belt Jones is as wonderful as The Last Dragon, but it hits the right notes and stands on its own as a different type of Blaxploitation film. From the moment Dennis Coffey's wonderful main theme song funks up your ear drums; down to the bubble bath final fight at the carwash, you are sure to be smiling throughout much of Black Belt Jones.

Freddy's Friday Night Dance Party!: Just Say…Maybe? Edition!

Here we go again, with yet another funkdafied edition of Freddy's Friday Night Dance Party, and boy did you pick a hell of a time to check what we got going on up in here. I see a cat like you strolling in, looking all decked out, ready to do this party right, and we have just what the doctor ordered to make your night nothing short of alright. What you need? Want some coke? Have some weed? You know me, I'm your friend, your main boy, thick and thin. I'm your Pusherman.

Written and performed by the great Curtis Mayfield, Pusherman appeared on the 1972 album, Super Fly, which would double as the official soundtrack to the Blaxploitation classic of the same name. Deservingly ranked on numerous best album lists, Super Fly is one of the greatest to come out of the era as well as one of the best to come from a Blaxploitation film. The anti-drug themed collection has plenty of unforgettable tracks from Superfly to Freddie's Dead, but my personal favorite of the bunch is Pusherman. There's something about the way Mayfield speaks the raw point of view lyrics in a fashion that, while not actually being sung, still comes off as very soulful. It simply gives off this cool vibe, and the way his meaningful words simply flow off of his tongue are certainly a major piece of influence on Hip-Hop music.   

I was actually planning to use the Mayfield in film club performance from Super Fly because I simply love that scene, but I also love the monologue that Carl Lee (who ironically died of an over-dose) gives at the beginning of this clip too. It perfectly sets up the awesome drug dealing/making moves photo montage, which plays as an integral turning point for the film's characters. If you've never seen Super Fly, it is a must, but if for whatever reason the genre isn't your bag, then the music is most definitely worth your time. 

Please, Hammer, Don’t hurt ‘Em! A look at Cinema Legend, Fred “The Hammer” Williamson

Born in Gary, Indiana on March 5th 1938, Fred “The Hammer” Williamson has had a career that is more than important to cinema, especially when it comes to cult and midnight movies. Williamson got his start as a successful pro-football player and is a three time defensive pro-bowler who played for the Kansas City Chiefs in Super Bowl I.

He got the nickname, “The Hammer” while during practice, one of his coaches asked him to stop hammering on the other players. Always the ego, Williamson took that term and made it a nickname, using it in a boisterous way when talking smack on and off the field, often saying he will "Put the hammer on" his opponents. He even developed a karate-chop styled offensive move fittingly called, "The Hammer" which he used on other players.

After retiring from the NFL, and with his fall back college degree, Williamson did some architectural work, but being a guy nicknamed “The Hammer,” he decided that it just wasn’t for him. He went into acting and did some television work with small roles in things like the original Star Trek series and played the romantic lead opposite Dianann Carroll on the TV show “Julia.” His first staring film role was in 1970’s M*A*S*H, which jump started his illustrious career in film.   

At an intimidating 6’3 and with black belts in Tae-Kwon-Do, Shotokan Karate, Kenpo, and charisma, Williamson had (and still has) what it takes to be an amazing action film screen presence. With his film work now spanning forty years and counting, Fred Williamson has made a major impact on some of cinema’s most entertaining of genres. His work in Blaxploitation movies makes him probably the most recognizable male star of the genre outside of Richard Roundtree, and Jim Brown.

To add to his midnight cinema cred, Williamson appeared in numerous Italian film productions and between those, and his Blaxploitation movies, he has worked with many cult fan favorites. His work with the great Larry Cohen, resulted in one of my favorites of the genre, 1973’s Black Caesar (along with that films follow up, 1973’s Hell Up in Harlem). Some of the Italian directors of note are Antonio Margheriti with Take a Hard Ride, which also sported an impressive cast that consisted of Jim Brown, Jim Kelly, and Lee Van Cleef! Yowza! Williamson did a handful of Post Apocalyptic movies with Enzo G. Castellari, but the most prominent film the pair worked on is certainly 1978’s The Inglorious Bastards. The Hammer even worked with Lucio Fulci on the less than stellar, The New Gladiators (1984).

All of this is just the tip of the iceberg in a film career that runs deep, a career that he has taken and made all his own, his way. Williamson formed his own production company in 1974 called Po’ Boy Productions, and with what he learned from working with people like Cohen and making films in Italy, he has created nearly forty movies on very meager budgets over the years. Writer, director, producer, actor, stuntman, NFL player, and sex symbol, what can’t this man do? 

What may have set “The Hammer” apart from the rest of the pack, is his ability to self promote and the way he carries himself in such an incredibly cocky and flamboyant fashion. These are the qualities that make him so awesome and he is not afraid to tell you about himself…he is completely upfront and even with such an ego, he carries himself with a genuine kindness. This is a man that has posed in playgirl, was a spokesman for King Cobra (a malt liquor that I used to drink in my high school days...shit got me cocked!), and was even nominated for an Emmy for the television series, Police Story.  Hell, he even stole the show with his bit part as a flashback suffering ‘Nam vet in 1996’s From Dusk Till Dawn, which maybe where most horror fans were first introduced to him. 

Being in the “biz” for as long as he has, Williamson has seen a lot and retained a great amount of memories. Besides being super entertaining, his interviews are always insightful, filled with stories from behind the scenes of the movies he worked on as well as the directors and other actors he worked with. With his trademark cigar, Williamson is one of a kind, and as cocky as he is, he wears it on his sleeve and is really just an honest guy that loves to talk about movies…and himself, of course. He is a true cinema badass and a legend in his spare time.   

 

“'There's only two things that I demand of my scripts, and they're the same things my audiences demand. First, I have to get the girl. And second, I have to win all the fights. We don't need suspense. With those two ingredients, the picture is assured of being a hit.” - Fred “The Hammer” Williamson -

Black Gunn

1972 was really the year when Blaxploitation started to blow up with a slew of great films, so it’s really not much of a surprise that Black Gunn is a little less known as it isn’t quite on par with some of the other films that came out that year. Staring football and film legend, Jim Brown (who also stared in the better-known Blaxploitation film, Slaughter that same year), Black Gunn is a basic Blaxploitation movie in almost every way, but one that is certainly solid and makes for an enjoyable watch.

Brown plays a character simply known as, Mr. Gunn, or Gunn if you’re cool enough for him to allow you to leave out the Mr. part (and I am, for the record). Gunn is a successful black nightclub owner that has worked hard to get where he is, but did so on his own terms. Gunn’s younger brother Scott (Herb Jefferson Jr.), who is involved with a black militant group, finds himself in a heap of trouble when the group knocks off the mob for some cash. The cash isn’t really the problem for the mob, so much as Scott got away with some very important notebooks that contained names of various politicians that are in bed with the mob behind the scenes. 

This brings a lot of attention to the well-know and respected Gunn as the mob is now on the lookout for Scott, hoping to get the ledgers back, as well as the police wanting to question Scott about the robbery. Gunn protects Scott, pretending as if he has no clue where his brother is, but that protection can only last so long before the wrong people catch, and then murder him. As you can probably guess, Gunn doesn’t take well to dead brothers and decides to exact his own brand of justice on those that killed Scott.

Simple premise, but as I said, Black Gunn is a very standard Blaxploitation movie filled with many of the clichés that genre has to offer. The mob is made up of all overly racist white dudes that go that extra mile to insult any black person with every ethnic slur known to man. It is often over done, but it also makes it more fun when these characters get it in the end, cause you know they will! There are many people involved with the crime/mob aspect of Black Gunn, with politicians at the top, down to the mob boss himself, who doubles as a used car salesman named Capelli, who is played by Slither mouth himself, Martin Landau.

Under Capelli, are his lower level thug’s, most notable would be loose cannon, Ray Kelley. Kelly is played by super creep, Bruce Glover and he actually puts forth one of the better performances as the intimidating and sleazy mob minion. The king of the proverbial castle in Black Gunn, is of course, Jim Brown who while not being the most charismatic actor ever, certainly has a copious amount of presence when on screen. I actually think Brown is a great actor more so in his later years, but he is still solid as the soft-spoken, yet tough as nails, Mr. Gunn.

Filming wise, Black Gunn looks like the typical low-budget Blaxploitation film with a style that changes erratically depending on what is happening on screen. Directed by Robert Hartford-Davis, most of the movie is very standard, but there are moments when things kick up and the action starts, and that where the film shines a little brighter. Some of the fight scenes are shot with a more panoramic fish eye lens, that while not necessarily amazing, looked fun and changed the pace of things. There are a few spots where some well done following shots are used, mostly in moments leading up to the action. As stand out as these aspects where, I wish there was a bit more of these techniques used in the film.

This is also the case with the music and setting in the film also. Music and setting are some of the most important things in film’s of this genre and Black Gunn could have expanded upon these things a little more. There are a few scenes where you get to see the awesome 70’s Los Angles setting, which isn’t nearly as great as 70’s New York, but has a great look all it’s own. And the music is very good, with some head bobbing funky beats that when utilized (mostly during driving scenes), really caught my attention and brought a cool smile to my face. However, the setting and even more so, the music are in the backseat and a little too secondary, which is unfortunate.

Black Gunn has a decent pace to it though, and there are a few slowish moments, but there are enough action scenes sprinkled in to keep the ball rolling. I loved the crazy shootouts that seem to just explode from out of nowhere (with even a few machine guns!), resulting in some fantastic tempura red blood, exploding from tacky tweed blazers. There’s even a hand grenade used right out in the middle of a city street, which gave me a “Holy Shit! A grenade!” boner. Gunn provides a few choice moments himself where body slams are performed, the use of a coffee table as a weapon, instead of a place for you feet is acceptable, and my favorite, when Gunn literally bowls a strike. With a guy. In a bowling alley. Fan-tastic.

There are a ton of cameos by actors of genre and non-genre note, almost too many to even mention, but I did recognize the beautiful Italian actress Luciana Paluzzi, who has a small role as a wealthy women with political connections, and a thirst for some of Gunn’s baby juice (that’s so gross, I know!). Another very notable supporting actor in Black Gunn, comes from yet another one time NFL football player and former principle of San Dimas high school, Bernie Casey, who plays one of the black militant leaders.

Dave Chappelle?

The film’s clear weakness is not going all the way, leaving empty spaces that kept it from being up there with the better films of the genre. While it isn’t the best of the bunch, Black Gunn is still an adequate Blaxploitation movie, with enough positive things in its favor to warrant a watch or two from the casual fan that has seen and enjoyed other films of the genre.