Originally a cable car grip, Melvin Van Peebles was told to become a filmmaker off the suggestion of a passenger. He filmed some short films around 1957 and tried taking them to Hollywood, but no one would offer him work. Following this, he decided to move with his family to the Netherlands, only for his marriage to fall apart. However, his shorts caught the attention of the Cinémathèque Française, so he filmed another short before moving on to writing. In 1968, Ven Peebles directed his feature film debut, The Story of a Three-Day Pass, which caught Hollywood’s attention. After winning an award at the San Francisco International Film Festival, he directed his first Hollywood feature, 1970’s Watermelon Man. While it was a hit and he was offered a three-picture deal at Columbia, Van Peebles decided against it. Instead, he decided to produce his passion project, 1971’s Sweet Sweetback’s Baadasssss Song.
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Synopsis
An orphan raised in a brothel, Sweetback (Melvin Van Peebles) performs for their sex show due to his sexual prowess. During one of these shows, two white cops ask his boss Beetle (Simon Chuckster) to use Sweetback as a patsy. The cops arrest Sweetback as well as a Black Panther member named Mu-Mu (Hubert Scales) along the way. Later, the cops pull over to beat up Mu-Mu, so Sweetback uses his handcuffs to beat the cops to death. Now on the run, Sweetback tries looking for help only to be turned away for one reason or another. He tries Beetle with no luck, he asks an ex to no avail, and he’s turned down by a priest. Meanwhile, the Commissioner (John Dullaghan) is hunting down Sweetback while also trying to find where Mu-Mu has hidden. Will Sweetback manage to survive, or will The Man take him down for good?
Review
There’s no doubt that Sweet Sweetback’s Baadasssss Song has a powerful energy to it, particularly with its filmmaking and editing. There are so many jump cuts, slow-motion sequences, superimposition shots, and quick-cut edits that make the film feel chaotic. On one hand, this can leave many viewers bewildered and disoriented, but on the other, it fits the narrative. As Sweetback’s situation gets progressively worse, the editing gets more and more frenetic, giving it a very nightmarish quality. Some might see this style of filmmaking to be sloppy and haphazard, but this helps the film stand out. Cast-wise, aside from Melvin Van Peebles in the title role, no one, in particular, is very memorable or noteworthy. Also, as impressive as the frenetic filmmaking and editing are, it can make the film hard to follow. Still, his goal was to make a Black power film, and Van Peebles certainly succeeded.
Sweet Sweetback’s Baadasssss Song is not only an important part of cinematic history but also of black history. While not the first film made by a black director, it was the first film independently produced by African Americans. It was also one of the first to have African Americans in the lead roles as opposed to supporting parts. This film’s success started a new genre in the 70s, blaxploitation, including Shaft, Super Fly, Blacula, Dolemite, and Foxy Brown. Also, this film helped inspire a new generation of black filmmakers, most notably Spike Lee and Robert Townsend. Aside from its significance in black and cinematic history, it also shows how impactful independent filmmaking can be. This should be shown in film schools, not just for its historical impact, but also to inspire aspiring filmmakers. Overall, Sweet Sweetback’s Baadasssss Song is a powerful film that tackles issues of corruption and racial bigotry.
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