User Reviews

It's a real shame that mediocre indie films, such as "Open Water" and "Napoleon Dynamite," get tons of publicity while a gem like "Baadasssss!" goes unnoticed.

Director and co-writer Mario Van Peebles affectionately, but truthfully, chronicles a fictional telling of his father, Melvin Van Peebles' attempt to make "Sweet Sweetback's Baadasssss Song," modern black cinema's groundbreaking film, which was compulsory viewing for the Black Panthers and paved the way for countless black actors, filmmakers and film technicians. The Spike Lees, Ernest Dickersons, John Singletons and Wayanses owe a huge debt of gratitude to not only what Melvin accomplished 33 years ago, but also how he did it.

Mario Van Peebles' previous directorial efforts, "New Jack City" (1991), "Posse" (1993) and "Panther" (1995), showed potential, but were mired in clichés and turned out to be rather forgettable. That's not the case with "Baadasssss!"

This is an exciting, funny and moving film about one man's zeal to make the movie he wants to make. Melvin did not want to kowtow to studios and was fed up with how blacks were portrayed in Hollywood movies. So he set out to make a movie where the black man fought back, then went on the run and got away. And he did it with an ethnically diverse crew (which was unheard of then), many of whom knew little or nothing about movie-making.

"Baadasssss!" brilliantly illustrates Melvin's struggles, including pretending he was shooting a black porno film to hide his real intent from the crafts unions, running out of money, losing his vision in one eye and finding a distributor for "Sweet Sweetback."

Mario shows a deep sense of love and respect for his father's achievement. But Mario definitely doesn't sugarcoat his depiction of Melvin. The Melvin we see in this film is a driven, obsessive man who loves his friends and family deeply, but won't let anything or anyone stop his film, including the weekend jailing of his crew. Mario's reluctance about being forced to be in a "sex scene" in his dad's movie is one of the film's highlights. The moment works thanks to a nicely subdued and thoughtful performance by Khleo Thomas as the young Mario.

Mario Van Peebles and Dennis Haggerty penned a smart, energetic script. They add a nice undercurrent to the story by creating a father-son dynamic, which adds a layer of surprising depth to the story. Mario Van Peebles so completely immerses himself into the role of his father that we forget we're watching Mario play Melvin.

Where the script falters is in its over-reliance on voice-over narration used to to convey Melvin's thoughts. It works sometimes. But it also seems obtrusive. For instance, Melvin's thoughts about the contents of the props drawer aren't needed because we're smart enough to know how dangerous or funny it could have all turned out.

"Baadasssss!" is as much about Melvin's passion to make his influential film as it is about the importance of maintaining one's integrity. Just as Melvin didn't compromise his story, Mario, too, apparently held out and refused to compromise. Producers wanted him to make the film more acceptable to "a white audience" or toss in some hip-hop. But Mario didn't relent and made the film he wanted to make.

The paradox about this film about the making of a film is that while Mario's movie is technically and cinematic ally superior to Melvin's seminal film, "Baadasssss!" ultimately isn't as politically, socially or historically influential as the film it chronicles. Nevertheless, for anyone interested in movie-making, "Baadasssss!" is a must, along with the documentaries, "Hearts of Darkness: A Filmmaker's Apocalypse" (1991) and "Visions of Light: The Art of Cinematography" (1992). "Baadasssss!" is one of the best and most enjoyable films ever made about film-making.

Aw, damn. We can't make fun of Mario Van Peebles anymore. Always something of a laughing stock (despite a few good contributions, like a good performance in "Ali" and directing "New Jack City"), Mario Van Peebles has made himself instantly much cooler by making this fun and suitably chaotic film, which chronicles the making of his father Melvin's landmark film "Sweet Sweetback's Baadasssss Song".

I've never seen that film, but from what I understand it's not exactly great, but was revolutionary for existing at all. It's about a black man "taking it to the man" and actually getting away with it, which was unheard of at the time.

Mario plays his own father, and "Baadasssss!" certainly doesn't candy-coat it. Melvin was essentially a good man, but could be incredibly cold and mean, and to his own family, and the film shows that. It also takes us back to the notorious scene in "Sweetback" where Melvin used his own 13 year-old son in the scene where the the titular character loses his virginity. This scene was difficult and uncomfortable for everyone involved, EXCEPT Melvin, which is telling.

The movie is swiftly paced and stylish, but I couldn't help feeling that it could be a little better. It feels a little messy and disorganized at times. Still, good stuff.

Mario Van Peebles gives us a biopic unlike any other bc unlike others he was there when his father written, acted, and directed his film 'Sweet Sweetback Badass song' and this film gives us a movie history lesson bout how that movie broke grounds cinematically. This is one of my favorite films by far bc how good Mario made this film and it is such an awesome and honest movie. This movie came out in 2003 and I'm surprised this film didn't get a Oscar nod at all. If the academy couldnt recognize this film, we are still in trouble today. If you love movies and black history, watch this film bc as a white man I'm happy to see a glimpse of a man who against all odds and traditional Hollywood, made his vision of a successful film and made history.

I can't begin to say how great this film is, and how much it meant to me. I'm not a big fan of some of Mario Van Peebles' work, so to me, this is by far his best job, acting and directing. He captured the power and the struggle of fighting for a dream/vision, and he made the audience take the journey with him. In fact, this film renewed by interest in the original "Sweetback ..." and made me appreciate the original film to a much greater degree. I saw this film on it's opening weekend, and I pre-ordered it as soon as I found out it was coming to DVD.

Essentially, Mario plays Melvin (his father) while he was creating the independent film classic, 'Sweet Sweetback's Baad Asssss Song'. We watch as Van Peebles struggles with family, "the man" and his own personal demons to complete a film that, by all industry models, should not have been made. It was black, sexual, political, and there was barely enough money to get it off the ground. But Van Peebles was a bad mother{watch your mouth}, and he was determined to make it anyway.

If you are a filmmaker, put this film in your "must see" list. If you are struggling to build a business, follow a path less traveled, or go for any dream that seems almost out of reach, this film is also a must see for you. And, if you just want to see the power of passion, and see what a person can do on too little budget with too little time when all he has to make up for the deficit is his heart, see this film! (That last comment was about Mario, but it is also apropos for Melvin, the subject of this film).

There is nudity and strong language in the film. I mention that because I wouldn't want to send anyone to a film that might offend them without forewarning. That said, see this film!

One thing was undeniable when I observed Mario Van Peebles "Baadasssss!", his dad Melvin was most definitely a baadasssss!! The film chronicles the true events on the challenging process of developing and direction Melvin's 70's trendsetter independent hit "Sweet Sweetback's Baad Assss Song". Sonny-boy Mario not only directed "Baadasssss!" but he also starred as his father. Mario tirelessly demonstrates in the film how demanding and challenging the direction process was back in the 70's for independent cinema during its embryonic era. Mario portrays his "Papa was a Rolling Stoner" as a committed visionary auteur who was fixated on developing a racially-themed revolutionary film. Mario shows how hardcore Melvin was in incorporating a culturally-diverse crew on "Sweet Sweetback". The offspring Mario does execute an admirable performance as the elder V.P. However, the jargon he infused in "Baadasssss" was kind of simply stated, "baaaddd!" If one is going to write a film on cultural bias and race, its imperative to have a cultural diverse scribe. Unfortunately, his screenplay was too "jivish". He should have contacted the Bee Gees to include the song "Jive Talking" on the film's soundtrack. However, I will stop being a tough "baadassss" critic and will marginally recommend goodasses and badasses (preferably female goodasses) to take a look at "Baadasssss!". *** Average

I had been putting off seeing this, and then was pleasantly surprised.

I didn't know much about Mario Van Peebles, nor of his father ("Sweet Sweetback's Baad Asssss Song" came out 2 years before I was born) but after seeing this homage to Mr. Van Peebles and seeing how much he risked - everything from finances to his family and his own health, for his dream of "the world" to really see life from the African American point of view, the way it really is, is well impressive to say the least.

The unimaginable struggle, the pressure and the sheer will that Mario portrays in his father is a touching tribute. Mario reveals his father's motives for making "Sweetback" in a moving and heartfelt way, documenting how Hollywood portrayed races other than white - if you are not white, then you are the white man's servant - how at that time - no one and no other film had film portrayed a Black Man as a hero or the struggles that he or any other race faces. It is a tale that is bigger than him and despite the risk and struggle, he fights to tell it. This is a fitting homage to a pioneer of a Genre and a Father.

"Baadasssss!" It also depicts the rugged world of guerrilla film-making and the rabid fight involved in making an indie film from inception to distribution. After seeing this I take a much greater heed of the Van Peebles Name, "Baadasssss!" is worthy film as a Drama in its own right, an Homage to a Pioneer and Father and as a Documenty Tribute to a Piece of Film History.

"Baadasssss!" beats out Truffaut's "Day For Night" as the greatest movie ever made about the movie business. What Mario Van Peebles does here is nothing short of extraordinary: he manages to inform the viewer about independent film-making while also incorporating an enthralling portrayal of a man obsessed by his unique version of the American dream.

Like "Adaptation", the film is a dizzying array of comedy, satire, family drama, and a little bit of Freudian psychology. Van Peebles, casting himself as his father, obviously doesn't glorify the production, but tells the story of the making of "Sweetback" in a low-key and understandable manner. He doesn't make his father a hero or a villain but rather a man pushed to his limits. The backstage antics are sometimes funny, but more often are simply incredible to believe. Van Peebles' daring use of "American Splendor"-like documentary transitions are also wonderfully effective.

It must be said that I have not seen "Sweet Sweetback's Baadasssss Song" and it's hard to fathom that this film would actually be better upon after viewing it (I'm not suggesting that I won't look for the film next time I'm at the video store). Like its subject, "Baadasssss!" is a revolutionary film, and should not be limited to film buffs or fans of Mario Van Peebles; this is a movie any casual film-goer would thoroughly enjoy.

I thought this movie really gave an insight to the black struggle in film and that Melvin and Mario are a credit to the film industry. Not only were they pioneers in the industry of indie film making, but they exuded that indelible American Spirit that you see faked out in so many other films. This film is real!!!! I also liked the persistence that came with it, this should inspire anyone with a vision or a dream to at all cost follow that dream and follow through to the very end, for the rewards are more than you can possibly imagine if you succeed in your goals. This is what great film making is all about, I implore anyone and everyone to see this movie!!!

Ever wonder what it would be like to make your own film without a studio to support you and no money in the bank to fund it. Well, thankfully Mario Van Peebles' father forged ahead in the 70s with a dream and passion like no other. While Hollywood was content with making pictures that negatively depicted African Americans, Melvin Van Peebles decided to break this cultural norm and change the face of cinema.

With no budget, money from friends and drug dealers, and a non-union crew, Melvin created the impossible. He grabbed a hold of an idea and let nothing get in the way from accomplishing it. Melvin had a dream of making an African American the center of the film, one that took no sass from anyone and criticized the modern white Government. While big studios backed away from this project, Melvin jumped forward made Sweet Sweetback's Baadasssss Song. There were trial and tribulations to get it done, but thanks to a very surprising source the film became a success. It was the first independent film to become the number one film in America.

Similar to the passion seen in Melvin's eyes when he is making his low-budget film, Mario portrays that exact same involvement when making this low-budget film. What I loved about this film is that there is so much raw, unbridled emotion behind Mario's eyes that you can tell that he 1) loves his Dad and 2) wanted to show America the truth behind this innovator's life. This is Mario's past, and he superbly reenacts it on screen. He carries this film, showing us the many facets of his father. He shows the angry American, the independent talent, the powerful leader, and even the emotional parent. Through all of this Mario continues to keep this film focused and interesting. We cannot keep our eyes off his portrayal of his father. I would not be surprised if he is nominated for an Oscar this year.

Finally, this is a very powerful film that speaks about a side of Hollywood that is less known. It shows how the boundaries of racism can be broken with imagination and persistence. It shows that 'all men are created equal' and that if you have a dream you should pursue it. If you are in the process of making your own film and need a movie that will inspire and motivate, this would be the film to watch. From the moment I put this film in my DVD player, I was glued. What a powerful story coupled with interesting actors (Adam West and Sally Struthers) and told with a very realistic voice.

I highly recommend this film.

Grade: **** out of *****

I tend to be a little ambivalent about the docudrama format. I'm on board with straight dramas, and with pure documentaries, but the combination of the two strikes me as more difficult to engage with. It speaks well to Mario Van Peebles that this might be the movie to help change my mind, because this blends matter-of-fact reflection, clips from the finished 1971 movie, and well-produced dramatization with a smooth finesse that handily exceeds my experience and assumptions. This isn't to say that it's 100% perfect; it's mostly rather briskly paced, and often quite direct - in the first half hour especially, we're shown something on-screen just as it's being talked about, a juxtaposition that's just too On The Nose. (In the worst example, Melvin is shown mulling over ideas for the film, and we see him write "MONEY" on a notepad as the narrative shifts to securing financing.) Any such possible flaws are ultimately minor, however, and the rough edges are ironed out as the digital timer advances; just as importantly, offhand I can't even think of any other faults. Far more so than not 'Baadasssss!' is fantastically well made, and far more compelling and rewarding than I'd have ever guessed.

It's one matter to read of the production history of 'Sweet Sweetback's baadasssss song,' and gain understanding of all the hard work, determination, literal blood, sweat, and tears, and outright desperation that went into it. It's plain as day how important a place the movie had in the annals of cinema specifically, and culture and society generally, and even without considering the content on its own merits it's well deserving of viewership, recognition, and preservation. The great success of Mario's 2003 retrospective is in fully, wholeheartedly, unquestionably cementing the absolute truth of what an incredible achievement and milestone Melvin's film was. Mario shows us how very much his father gave of himself to make his picture a reality, and how driven he was, and just how much the community truly rallied to support the production and the release. The last thing I ever would have expected from a docudrama would be earnest emotional investment, but this one is so wonderfully absorbing as it tells its story that I couldn't help but be totally drawn in as readily as I would for an entirely fictional movie. It's just that good.

And this title itself is fabulously well done; it's apparent just how much passion everyone involved had for the material, and for bringing this saga of cinematic history to life. Mario's screenplay, co-written with Dennis Haggerty in adapting Melvin's memoir, is rich and flavorful with every characterization, line of dialogue, and scene as the 30-year old pieces are put together. His direction is exemplary, as is Robert Primes' cinematography, and the editing of Anthony Miller and Nneka Goforth that so capably flits across such variety of footage. One naturally assumes at least some small measure of embellishment, or at least personal interpretation of the course of events, from those whose lives are being depicted before us. Even at that, however, it really does feel like we're stepping back in time and getting a peek behind the curtain at what the process was for Melvin, from conception to filming to validation. And even still, though it's a discrete series of real-life events playing out before us bit by bit, and though it's interspersed with commentary from the people involved by way of the actors portraying them, never does the "documentary" side of the coin supersede the "drama"; very honestly, we could just as easily be watching a straightforward feature of either style as the narrative unfolds. If that's not a credit to Mario and his cast and crew, then what is?

It's a large, impressive cast assembled here, and they all give excellent performances. The production design and art direction are splendid, as are any stunts and effects that are employed. All told the film-making and storytelling are just as strong and vibrant as one would hope for in any more "conventional" feature, and that arguably makes the results all the more gratifying in light of the blending of tones. I feel like I've spent more time accentuating the subjective qualities of 'Baadasssss!' rather than its objective traits, but I think even only further highlights the unlikely triumph this represents; how often does a documentary, or even a biographical film, grab such hold of its audience? All the effort and care that Mario and his cast and crew put into their work gave us an outcome that stands just as tall as most any picture (including its subject matter), and is a testament to the accomplishments of both the 70s and the 00s - even if 'Sweet Sweetback's baadasssss song' doesn't altogether appeal to a viewer, I'm rather of the mind that 'Baadasssss!' is still worth watching and highly informative in all the important ways. Long story short, this is simply super and must be seen. My highest compliments and recommendation!

Melvin Van Peebles has just finished his film Watermellon Man and he is planning his next film. Its about a black hustler who stands up for the black community. The film Union said it would never support the idea as the main character was a black man and they said no one will watch it. So Melvan decides to make it independently; pretending that its a porno so the union leaves him alone; though the film does have sex scenes. He puts together a make ship crew and they start off on a very short twenty day shot. Though from get go this film had problems that would have stopped it completely, but Melvin kept pushing and pushing till it was done. Melvin alienated everyone in the process, becoming so obsessed that his health started to wain and become threatening to his sight.

When Sweet Sweetbacks Baadasssss Song came out; with a X rating, it became a massive hit with the black community and the community in general. It revolutionized cinema and independent film making. Baadasssss (title release in Australia) is a great insight of the making of this film. Part film and part mock-doc format, Mario Van Peebles has created a great homage to his father Melvin. The was a lot of controversy when SSBS came out due to its explicit sex and nudity, an opening scene of SSBS was where he used his son Mario in a sex scene. But more that it show a black man standing up against the white man. There was a great scene in Baadassss where they shot a scene of Sweetback bashing two crocked white cops. The black people were cheering while the white men were shifting awkwardly in their seats; it just said it all.

Mario Van Peebles has done a great job at bring the story of his fathers struggle over his film. Mario played Melvin perfectly, and also used his son Khleo Thomas to play him. The rest of the cast is just spot on, Joy Bryant as Priscilla is perfectly eccentric, making every entrance a grandeur one. It was also great to see in the end credits some of the actual people how helped with the film; Bill Cosby was a major financial help, the band Earth, Wind, Fire who did the soundtrack of SSBS, and the film makers and other crew people.

An awesome watch.

This is a dramatization by Mario Van Peebles, based on real events. It's about the making of the revolutionary film "Sweet Sweetback's Badass Song" (again with lots of a's and s's).

That film is the only one that I ever heard Huey P. Newton recommend. Do you know it? ("Sweet Sweetback's Badass Song", I mean.) I haven't seen it, because I haven't found it in any video stores, but I would like to.

Anyway, "Badass!" is also autobiographical, because Melvin Van Peebles, Mario's father, is the one who made "Sweet Sweetback's Badass Song", and Mario was also involved in making that film, as a child.

This is now just being shown in select theaters across the country and I got the chance to see this film just the other night,and it is a welcome sigh of relief from the outcome of summer rubbish that is clogging the nearby multiplexes. But with "Baadasssss!",co-writer and director Mario Van Peebles has offered a stunning tribute to his father,Melvin Van Peebles,whose groundbreaking 1971 classic film became one of the highest-grossing independent films of that year,and also opened the floodgates for a string of blaxploitation movies to come throughout the decade of the 1970's. The film is also a case of cinematic one-upsmanship in which Mario Van Peebles,himself,plays his father Melvin,warts and all,during the course of the older man's production of his greatest claim to fame,the cult sensation independent film of 1971,"Sweet Sweetback's Baadassss Song",which was in fact a film that didn't get much hearsay when it first came out,but by word of mouth became the surprise hit of that year since the 1971 film was "X" rated by an all-white jury for some outlandish content and shocking scenes.

For those individuals who have never seen this blaxploitation classic,or who have managed to see it in its entirely in the video store or in college film courses or during midnight screenings on college campuses(where it is shown during Black History Month)or most recently during Black Film Festivals where panel discussions are formed regarding this landmark cinematic piece of African-American film-making. The picture "Sweet Sweetback's Baadassss Song",stars Melvin Van Peebles himself as a bordello stud performer in Los Angeles who gets arrested and beaten by racist White cops,kills two of them,and manages to escape(the movie concluded with Van Peebles running endlessly over hill and dale)while he stays on the lam,while the chants throughout blasts out: "You killed my momma!","You killed my poppa!","You killed my brother!", "You killed my sister!"......."But you won't killed me!"............. The picture was very low budget making it grainy and hallucinogenic in the fashion of that era and it featured a throbbing,Greek chorus style accompaniment from an unknown band at the time...Earth,Wind,and Fire who would go on to become one of the most successful funk/R&B bands of the 1970's. "Sweetback" is credited with being the first film to have a black man taking charge of his own production and his own financing of the film and his own representations through his own independent film company,which was a bold and prosperous move at the time. "Sweetback" introduce to the world black street language and attitudes plus it wa also a winner to celebrate a lawless hero who stood up to the wrongful doings of the Man and came up a bonafide winner.

In "Baadassss!",Mario Van Peebles re-creates from start to finish the making of "Sweetback" and the convulsive life around the production. Now in his mid-forties,he plays his father at roughly the same age,and following his father,he wrote the screenplay for the movie(with Dennis Haggerty),co-produced,and directed it. He has not just stepped into his father's shoes,but captured every stanza and every body movement and it works very well here. The story of this famous tale of Melvin Van Peebles goes this way:in 1970,after directing the controversial successful comedical satire "Watermelon Man",starring Godfrey Cambridge,Van Peebles(who had a three-picture deal with Columbia Pictures at the time)turning his back on the glad-handing executives at Columbia,and the way Hollywood portrayed blacks on film,was thinking of explaining his vision to his agents whom turned him down so instead to make this film he had to be manipulative and devious enough to pull off the impossible,and he did. As far as the story goes,he did a lot of hustling to get this film made whatever the odds were against him which was a phenomenal amount of accomplishments he had to face to get this off the ground and running. Melvin passes the film off as a black "porn-movie" and shoots a scene to further that impression,but he had to enlists the help of a lot of people including a white stoner,a black porn producer,a reclusive gangbanger,and other social undesirables which includes a Bob Evans-style producer that turns out to be a gay-shooter too(and that is played by Adam West....yes,that Adam West. That's right boys and girls....Batman himself)not to mention using his own kids for this project as well. The movie captures some of the desperation and the easy pleasures of the period which turns out to be an exhausting,pleasurable,great piece of entertainment for a great summer escapism. However,"Baadassss!" is a celebration of sorts,which in turn reminds us that the political fervor that animated the films of Melvin Van Peebles and his contemporaries has largely disappeared from the American scene which there are notable exceptions such as Micheal Moore's "Fahrenheit 9/11",and Spike Lee's "Do The Right Thing". In an era where black entertainers are producing too many borderline minstrel entertainment like "Barbershop","White Chicks","Soul Plane",Mario Van Peebles' "Baadassss!" is a welcome call to arms,and its a grand honor to represent one of the great pioneers of Black Cimema. But it is also a mystery to this day for the son of Melvin Van Peebles,Mario whose greatest achievement as a film director,the 1991 crime-drama,"New Jack City",and the 1992 all-black western "Posse",and as an B-listed actor doesn't get the ultimate respect he greatly deserves. Let's hope he gets some respect here with this stunning tribute.

BAADASSSSS (dir. by Mario Van Peebles) Man, I was so f*cking excited when I heard that this film was being made. When I was a kid, I would spend weekends with my Dad. There are two things I remember doing. One was shopping for model ships and airplanes from World War II. The other was going to see two or three movies in an afternoon. We saw EVERY Hong Kong action movie and EVERY blaxploitation flick that came out in the early '70s. So Melvin Van Peebles and "Sweet Sweetback's Baadasssss Song" holds a special place for me in my memories.

Based on his father's book, Mario Van Peebles recreated the story of the making of "Sweet Sweetback…" and the incredible struggle it took to get it funded and distributed. First, the major studios wanted nothing to do with a film about a black man turned revolutionary who kills a cop and gets away with it. They didn't want anyone making a film where city cops are exposed as racist and crooked. The racist unions wouldn't allow him to make a movie with a crew of whites, blacks, Latinos and Asians. To make matters worse, real racist cops step in and arrest half of the crew illegally.

Basically, this film is "American Splendor" meets "Reds". It's the story of a guy working outside of the system eventually developing support from committed people who understood his vision with the ultimate triumph being the movie itself. Like "Reds", there are talking heads giving testimonials throughout. My favorite scene in "American Splendor" is the final moment where you get to see Harvey's actual retirement party with no actors and all real people. At the end of "Baadasssss" you get to see the real people and I thought I was going to cry. It's a great movie all the way to the very last second.

Mario makes great job in this movie, surely it must be one of his best movies so far. I haven't seen the rest of them, so I don't know. This is a true story of making the first "Nigga" movie, which to my opinion is still the greatest one of them, and one of the bravest and most interesting movies of all time. "Sweetback" alone makes Melvin one of the greatest (I haven't seen his other works yet). The portrayal of the movie world is really funny, and also I'm sure it's a quite realistic picture today also. The funding and everything: They never want to take too much risks. It's not about racism towards minorities, it's about fear of anything new or innovative. It's one of the best and most realistic and honest portrayals of artist's life and "creation" process, I can remember seeing only one of this level before; that was Ed Harris' "Pollock". And Melvin is really no god or saint here: He's a human being, although a very talented one, and he just "does what he has to do", brings home the bread. And he can also be a total a-hole. This film has some funny and interesting characters and scenes, that makes it possible to view it maybe even second time in the future. It's also a personal "trip" to Mario. The story is based on both Melvin's (=his book) accounts and surely also in Mario's own memories from his childhood. The films minuses are technical: It looks and sounds quite clinical and boring, I mean it's too professionally made. There has also been made some compromises in the script, maybe to "make it more accessible to big audiences". The irony of course is, that the original "Sweetback" proved, that an independent film made with no budget and no compromises can become a BIG time hit for big audiences. Anyways it tells entertainingly a story of an important event and of some events in an important man's life. Recommended.

Melvin Van Peebles, from what I've seen from interviews and from the impression I get of him from Baadasssss!, was not always the most pleasant-natured guy, and loaded with attitude, but then how could he be, or couldn't be? Here's a man who had some clout following a moderately successful movie, Watermelon Man, and suddenly found himself in the cross-hairs of artistic and commercial perspectives: to make a full-on, unadulterated representation of a side not seen in the black community on film 'as-it-is', and appeal to a mass audience. Peebles knew he had a base, however, or at least knew he did in his gut somewhere, and went for broke, literally as well as figuratively, to get his little underground production from start to finish. It's in this context though that this film's writer/director/star, son Mario Van Peebles, goes further than his father even did in a way, albeit not attempting to break the ground his father did. There's actually some sort of very intrinsic stuff going on, and one wonders how self-reflexive (and a little disturbing in how frank it is) to see Mario Van Peebles playing his own father and involving himself, as a boy, in the production as the movie's hero losing his virginity at the age of 13. It's frankness, actually, is a virtue as opposed to something off-putting.

Peebles has more resources technically than his father did, but there's more than that that makes Baadasssss! such a awesomely cool examination of a headstrong, half-crazy half-brilliant filmmaker and production story. There's a wonderful mix of abrasive, off-beat humor regarding culture (perceptions of black people in the business, of course, but also bits involving hippies, and old-time Hollywood people), and part of the fun comes in the actors and how they handle the attitude. The introduction of Melvin's security/boom-mic operator is one of those scenes. There's also great details revealed about the production itself, like the unresolved fate of a handgun on the set, or how a car-fire is dealt with and incorporated with a lot of calculated risk. Actually, everything Peebles took on with his film was a risk, and his son follows suit by not making it an exact dramatization either. Like Reds, he intersperses the narrative with 'interviews' with those involved, but with the actors playing the real-life characters, and then putting in Ossie Davis in the interviews not as Melvin (played by Mario's) father, but as Ossie Davis.

If this sounds confusing, it really isn't. Peebles, the director/star here, handles this with a very smart handling of character in relation to the others underneath him, in how he sort of goes into a downward spiral as money runs out and he loses sight in an eye, and even how he can't distinguish between himself and his "Sweetback" persona. Peebles also implements a visual style that is a little crazy as well, but with a wam-bam sense of what works as opposed to what's done in a rush (ala the original Sweetback itself). And like Ed Wood, one sees how a filmmaker can get what he wants if he pushes his own conscience out of the way, even as things comically crumble around him- the difference here being that Melvin Van Peebles has at least some level of talent to go with his immense ambitions. There's also fine supporting work by Rainn Wilson as Peebles's hippie producer, David Alan Grier as the assistant director, Nia Long as Peebles's long suffering girlfriend, and Saul Rubinek as his agent. Peebles himself is also a very fine actor here, if a little self-conscious of his own father's ups and downs to portray.

Loaded with self-importance that doesn't feel pushy, laughs that come out of genuine characterizations and dialog, and a sweet message to boot, this is one of the best films about what Truffaut called the joy and/or horror of a director making a film.

There have been many movies, usually bittersweet comedies, about movie-making with the director as the put-upon ringmaster of eccentrics, like Truffaut's "Day for Night" or "Living in Oblivion," or bio-pics that show the director as eccentric visionary, like "Ed Wood" or "Matinee."

But I think "Baadasssss!" is one of very few to show the filmmaker as a driven artist, more comparable to the intense look at a ground-breaking creator like "Pollock."

Writer/director/producer Mario Van Peebles eerily reenacts how his father Melvin wrote/directed/produced the seminal "Sweet Sweetback's Baad Asssss Song," one of the first indie movies that also virtually created the potent blaxpoitation genre and guerrilla moviemaking; I thought I had seen it back in '71, but as soon as this film started I realized my memory was, embarrassingly, confusing it with Robert Downey Sr.'s "Putney Swope," so now I do need to see the original.

The production design, including costumes and hair styles, exquisitely recreates the era, but the editing and cinematography suck us even further into Melvin's head as he incisively surveys the state of the image of blacks in movies up to that time and story boards his response.

Melvin's obsession to create and complete the film according to his vision and on his terms threatens his health and his personal and business relationships, but we are caught up in his whirlwind and root for him no matter how ruthless and prickly he becomes as the odds get ever longer and more frustrating and he refuses to compromise, taking offense at lame, well-meaning suggestions, for example, that he might get further if he would at least smile. But he everywhere, rightly or overly sensitively, only sees racism and condescension, including when he has to part layers of irony to beg Bill Cosby for help.

Recalling the spirit of Werner Herzog's documentary "My Best Fiend" about his tortured collaboration with Klaus Kinski to portray obsessives in "Fitzcarraldo" and "Aguirre: The Wrath of God," Mario adds layers of Freudian issues as this filial tribute unflinchingly includes the father's treatment of the son on set and off in the original film and unsparingly brings to life everyone around them.

Mario effectively borrows other bio-pic techniques, such as the camera-facing interviewees in "Reds," first by their portrayers, then, next to the closing credits, the real people, concluding with a loving portrait of his father.

Contrary to the original film, which boosted the careers of the fledging Earth, Wind, and Fire, the soundtrack instrumentation here is surprisingly traditional and sentimental.

The Portrait of the Artist can rarely be a Portrait of a Nice Guy and "Baadasssss!" beautifully and honestly shows why.

Mario Van Peebles portrays his father Melvin Van Peebles in the early 70s as he pushes the boundaries of black films. After making the comedy Watermelon Man, he goes on to make the black-conscious "Sweet Sweetback's Baadasssss Song". His agent Howie Kaufman (Saul Rubinek) wants him to do another comedy. With racist white expensive unions, he uses porn producer Clyde Houston (David Alan Grier). His hippie friend Bill Harris (Rainn Wilson) tries to line up investors. He's an often-absent father to his two kids being taken care of by Granddad (Ossie Davis) and later by his girlfriend (Nia Long). His secretary Priscilla (Joy Bryant) keeps trying to get a role in the movie. After his investor gets arrested, his rag-tag group starts with self-financing and no SAG actors. With muscle from the Black Panther and private investors like Bill Crosby, he overcomes all the hurdles.

This is a compelling movie on a couple of levels. This is a nice slice of a time and place. It's a thrilling underdog story and a fun insight into filmmaking of that era. The indie style of filmmaking is quite fitting for the subject matter. Then there is another level where Mario seems to be working out some issues with his dad. Seeing Mario channel his father while Khleo Thomas plays him is incredibly compelling. This is the perfect docudrama for him.

"As the leading actor, Mario stupendously embodies his father with charisma, gravitas of indomitability and profuse compassion, his characterization is providentially well-rounded. Melvin's desperation is in equal measure with his ambition and Mario really busts his chops in the roller-coasting experience of the front-of-house issue on the opening night of SWEET..., the ending is a foregone conclusion coaxed with an over-dramatic turnabout, but Mario sweetens the pill of manipulation with enough emotion to feel authentic and stirring. The rest of the cast is also on strong showing, Khleo Thomas plays a young precocious Mario sympathetically, Karimah Westbrook is a sassy dynamo as Ginnie, one of the actresses, and Nia Long makes for a compelling sparring partner as Melvin's girlfriend Sandra."

read my full review on my blog: Cinema Omnivore, thanks.

Baadasssss! is both intelligent and fierce. It's like Amadeus with the role of Salieri being played by the "The Man".

A tremendous depiction of the first minority-made independent film. It's both a period piece and a homage to a visionary. It also shows the determination required to conceptualize, develop, sell and execute on a film project. The film is an inspiration to anyone who 'wants to get the Man's' foot out of their asssss' and do work that they can be proud of!

Mario Van Peebles having lived through the making of 'Sweet Sweetback's Baad Assss Song! had unique insight into the mission that his father was on (the real trick was how he successfully translated this insight into a truly entertaining film). With the luxury of time to put the accomplishments into their proper perspective, Mario Van Peebles has provided the film-goer a retrospective through; his eyes, his father's eyes and history.

A must-see film to understand that the determination of one man can make a difference. A 'how-to movie' of sorts; the movie starts with a history on film about film and ends as one of the best films about a film in history.