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Sexploitation » » Blaxploitation » Grindhouse
Sweet Sweetback's Baadasssss Song


1971       Melvin Van Peebles


Teaser Storyline for Sweet Sweetback's Baadasssss Song

ONCE UPON A TIME A GUY, A BLACK GUY, DECIDED, WELL NOT REALLY DECIDED, HE WAS MORE OR LESS STANDING IN THE WRONG PLACE AT THE RIGHT TIME, TO STAND UP FOR HIS RIGHTS,OR AS THEY SAY ON THE BLOCK TO GET-THE-MAN-OFF-HIS-BACK, WHICH OF COURSE IS NO MEAN FEET.

SIRE, CECI N'EST PAS UN ODE A LA BRUTALITE QUE L'ARTISTE AURAIT INVENTE MAIS UN HYMNE SORTI DE LA BOUCHE DE LA REALITE . o ."
(Incantation Traditionelle Du Moyenage)

SIRE, THESE LINES ARE NOT A HOMMAGE TO BRUTALITY THAT THE ARTIST HAS INVENTED, BUT A HYMN FROM THE MOUTH OF REALITY.. o"
(Traditional Prologue of the Dark Ages)



Production Notes - Times Review

The film is an outrage. Designed to blow minds. A disgraceful and blasphemous parade of brilliantly precise stereotypical Blacks and Whites, all drawn extravagantly and with impossible dimensions, all haunting our memory of what is true. A huge hustler, con man to his heart, wanders around

his bathroom explaining to a fugitive named Sweetback (acted by Van Peebles) just why there is nothing to worry about. He is too convincing, singing this ghetto song, to be believed. And he is not to be believed. That is exactly why he practices so hard his craft of deception. Only another hustler would know just how hard. But it is to this trickster that Sweetback, a professional sex show stud, runs with his deepest trouble. He has become, in a rare fit of rage, what Martin Luther King called a drum major for justice. Has mashed up two sadistic policemen during the performance of their racist duty, and now i~ tget in the wind, run the race for his life.

Sweetback is the ultimate sexualist, in whose seemingly vacant eyes and unrevealing mouth are written the protocols of American domestic colonialism. Here stands before us a triumph of the missionary purpose: a man whose only politics have been the politics of his body. And there rests his vulnerability. To the American White of liberal or conservative stripe, the Black man represents precisely the same thing: a male being whose existence and humanity share space in his crotch. (For good-liberal or evil-conservative reasons.) What, after all, is Eldridge

Cleaver remembered for most in his book "Soul on Ice"? Cleaver, the rapist, was his own phallic knight of the realm. assured there would always be a demand for his services and aware that most, but not all power comes from the barrel of a gun. In his own province, Sweetback, an exorbitantly gifted sexual satisfier-Aretha's original Dr. Feelgood-Iives a part of the same legend. As he runs, the law and the mythology of his existence pursue Sweetback. He is hard pressed on several occasions to elude either or both.

Technically, the film dazzles, is a rough diamond glittering an inquisitive light upon a people and what,is, in fact, their own business. Van Peebles em -ploys the camera like a surgeon slicing away fat and other body tissues, always probing toward real or imagined diseases. Sealed into nearly every frame of Sweet Sweetback's Baadasssss Song is a desperate level of energy, a frenetic, often dizzying romp through a portion of the Republic, encountering or passing by Its disgraceful streets, the crumbling houses in which live its pimps, whores, Its witless members of the law enforcement world, its thieves and assassins who all, ultimately, are the Republic's victims.

Certainly the film is objectionable. Van Peebles can zoom in as smoothly, as gracefully, and as precisely on the Brothers who are into revolution as he can put a candid lens on Brothers who are into cocaine. And, seemingly, with the same Intense concern. The film also captures Sweetback's exploits in the sexual arena With a graphic blunthess too realistic to bear any description here. And Van Peebles has made the sermons of storefront churches ring as vividly as the rhetoric of the streets; has brought an almost too sharp focus to a casual murder here, teen violence and arson there. (A scene with sudden and stunning impact occurs when some young Bloods set tire to an occupied police car.)




Item Details:
1-Sheet 27x41 Folded




Sweet Sweetback's Baadasssss Song

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CAST of Sweet Sweetback's Baadasssss Song

Starring:
The Black Community
Brer Soul


Co-Starring:
Bruce Adams
Simon Chuckster
Ron Prince
Hubert Scales
Steve Cole
John Dullaghan
Megan Peebles
West Gate
Joe Tornatore
Niva Rochelle
Mike Angel
Rhetta Hughes
The Copeland Family
Nick Ferrari
Jeff Goodman
Ed Rue
Curt Matson
Johnny Amos
Marria Evonee
Lavelle Roby
Jon Jacobs
Ted Hayden
Bill Kirschner
Mario Peebles
Vincent Barbi
Sonja Dunson
Chet Norris
Michael Agustus
Joni Watkins
Peter Russell
Jerry Days
Norman Fields
John Allen



Credits for Sweet Sweetback's Baadasssss Song

Director of Photography .......................... Bob Maxwell
Cinematographers .......................... Bob Maxwell & Jose Garcia
Production Manager & Assistant Director .......... Clyde Houston
Make-Up Supervisor .......................... Nora Maxwell
Sound ....................................... Clark Will
2nd Unit Director .......................... Jose Garcia
Assistant Editor .......................... Jerry Hoenack
Special Effects .......................... Cliff Wenger
Optical Effects .......................... Muller-Curtis-O'Neil & CFI
Sound Editors .......................... John Newman & Luke Wolfram
Dubbing .......................... Art Piantadosi
Sweetback's Wardrobe by .................... Mr. B.'s Fashions of L.A.
Orchestration .......................... Earth, Wind & Fire
"Come On Feet" .......................... Courtesy of A&M Records
Priscilla Watts .......................... John Murphy
Tony Scott .......................... George Rubine
Dianne Jenkins .......................... Winfred Tennison
Chick Borland .......................... Skip Karnas
Written, Composed, Produced, Directed and Edited by ...... MELVIN VAN PEEBLES



Laboratory CFI I.A.T.S.E. .......................... COLOR
Running Time 97 minutes








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