Posts Tagged ‘blaxploitation’

Dolemite

Friday, November 28th, 2008

Josef von Sternberg was an Austrian-American director whose first film, 1925’s THE SALVATION HUNTERS, is considered by some to be the first American independent film. He worked with Charlie Chaplin and Howard Hughes, he discovered and bedded Marlene Dietrich, Robert Mitchum threatened to throw him off a pier, he directed 25 movies including THE LAST COMMAND, THE BLUE ANGEL and THE DEVIL IS A WOMAN, and his influential films and stubborn dedication to directorial vision made him a hero to proponents of the auteur theory. Also he had a son named Nicholas Josef von Sternberg who was the cinematographer for DOLEMITE.

While DOLEMITE is arguably not as accomplished a picture as THE SCARLET EMPRESS, it does follow in von Sternberg’s spirit of independence, and that’s part of what appeals to me so much about the works of my man, the legendary Rudy Ray Moore, who passed away last month.

I don’t know about other places but in these past 10 or 15 years young white people in Seattle have picked up the adjective “ghetto” to mean low rent or shoddy. It kind of bugs me because I don’t know how the “ghetto Safeway” that doesn’t have the best selection of organic foods is comparable to the actual experience of living in poverty and segregation. But I think “ghetto” is a pretty good adjective for the life works of Rudy Ray Moore, because he seemed to maintain the same ethic from beginning to end, the ethic of a club singer who learned a poem from a homeless man, reworked it into a standup act, started pressing his own comedy records and selling them out of the trunk of his car, made a cottage industry of underground XXX comedy records like “Eat Out More Often” and used those profits to make a series of scrappy low budget movies shot in his house, at a night club where he performed and in the parking lot of Ralph’s. (more…)

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Long Live Dolemite! Vern on Rudy Ray Moore

Tuesday, March 20th, 2007

Friday night I saw Rudy Ray Moore perform at The Funhouse in Seattle. If you’re not familiar with Rudy, he’s a legendary comedian, maker of x-rated comedy records, who paved the way for his contemporaries like Richard Pryor and Redd Foxx to do their thing by carving words like pussy and motherfucker about ten thousand times into vinyl. But it was his string of self-financed, low budget blaxploitation comedies like Dolemite, The Human Tornado and (my favorite) Petey Wheatstraw, the Devil’s Son-in-Law that put him on the map for most of us. Those movies are built around his persona, the arrogant, unbelievably shit-talking chauvinistic badass with a knack for hilarious insults and rhymes. Like his movies, his act is mostly built around the traditions of the dozens and toasting. He tells stories in rhyme and picks out people in the crowd to talk shit about (which most people take as a great honor).

I never saw Rudy Ray in his hey day, but I did see him here a few years back. That was a polished, old fashioned show with a band of local musicians who he probaly hadn’t met, but he handed them sheet music and they knew what to do. He did all his classics (Dolemite For President, Signifyin’ Monkey, Shine, Petey Wheatstraw, etc.) to the music and even sang a few songs. At first the pure filthiness and sexism of the whole thing was almost overwhelming, it kind of felt like he had gone around slapping people at random, everyone was in shock. I remember there was a young woman playing in the band who didn’t look too happy at all this talk about pussies and dicks. And there’s a joke he does about “a deaf and dumb bitch” that is about the worst thing anybody ever said. But then slowly it seemed like that woman in the band started to get to a point where it was so ridiculous she started to laugh and by then most of the audience couldn’t stop laughing.

This show was pretty different. The Funhouse is a weird place for Dolemite to show up. It’s right across the street from tourist central at the Space Needle, but they say it’s “Seattle’s oldest surviving punk club.” It looks like a shithole from the outside, with a big, ugly evil-clown head on the front. But inside it looks like a ’50s diner, complete with stools and checkered tiles. The stage is maybe a foot tall, probaly less, with a small area to crowd around and do whatever you do as a card carrying member of a punk club. (more…)

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Black Caesar

Monday, February 12th, 2007

In my opinion BLACK CAESAR is one of my favorite blaxploitation movies. It’s got a good story and direction (by Larry Cohen), a badass soundtrack (by James Brown) and a super badass lead (Fred Williamson). Fred plays a cruel motherfucker, sort of a Scarface type anti-hero, but makes him mostly sympathetic.

You already know the movie is good at the beginning because it has such a good and unusual opening. Fred’s character Tommy Gibbs is a kid (played by some young guy, don’t worry it’s not Fred wearing a beanie or nothin) working as a shoe shine boy.

There’s a nervous white man in a suit, looking over his shoulder, but Tommy convinces him to get a quick shine. Suddenly a scary mafia dude comes out with a gun and the whitey tries to run. But Tommy holds onto his shoe. After the dude is dead, Tommy meets up with the mafia dude in an alley. He gets his payment and also gets to hold the murder weapon and check it out. This kid may have some problems, is the idea.

Later, when the kid has just gotten out of the joint (where he grew into Fred Williamson) he decides to enact a master plan to take over a neighborhood from the Italians. It’s a bold plan and even though Larry Cohen is probaly some sort of white dude, he puts alot of race and class wish fulfillment shit in there to make it fun. For example, Tommy is so rich he buys a penthouse apartment from a white couple, forcing them to move out immediately and leave all their belongings. Then he tosses the wife’s fur coats out the window. The next morning we figure out why he bought the place – his mom is the maid. He tries to get her to just retire and live in the apartment herself, but it’s more complicated than that. She can’t see herself living in the rich white people building. She’s just sees herself as the maid. (more…)

Petey Wheatstraw, the Devil’s Son-In-Law

Saturday, January 1st, 2005

I always wanted to see this one but never got around to it back in the day, and now it is available on DVD for the first time since its original release, as well as the first time ever. And it was worth the wait, because this is the best picture I have seen Mr. Rudy Ray Moore involved in.

Rudy plays Petey Wheatstraw, a famous comedian and rhyming Badass much like Dolemite without the criminal record. In the introduction he is a godlike narrator in some netherworld rhyming about all the great things he can do because he’s the devil’s son in law. Then it shows him being born on a stormy night. First thing he does is bite the doctor. He comes out looking about 13 years old and beats the doctor’s ass for slapping him.

But then for some reason he is just an ordinary comedian and there is an explanation for how he becomes the devil’s son in law. What happens you see is Petey is putting on a show at the same time that two flamboyant fat businessmen Leroy and Skillet (played by Leroy and Skillet) are putting on their review. Leroy and Skillet are very competitive so they send their thugs after Petey’s friends who are putting up signs to advertise the show. There is a struggle and a little boy, no more than 13 years old, gets shot and killed.

I thought damn, they would NEVER do that kind of shit in a movie these days. Right at the beginning a little kid gets graphically shot and killed. It’s a real downer. Then there is a very sad funeral scene and all the sudden, a car pulls up and the thugs get out and machine gun every last motherfucker at the funeral! Ladies and gentleman we are talking Cinema with balls. (more…)

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