"Vanishing Point" isn't exactly a mainstream classic, but for a portion of moviegoers who like to see cars go fast and people do drugs, it's pretty much unmissable. Based on that description alone, it makes sense that the cult film's audience grew when it was directly referenced in Quentin Tarantino's 2007 road slasher film "Death Proof." Other directors who are major fans of the film include Edgar Wright and Steven Spielberg, who once told Entertainment Weekly it was one of his favorite movies.
The 1971 film didn't feature many stars, but did include a handful of actors who would become famous for other projects in the years following the film. Cleavon Little, who played radio DJ Super Soul in the film, went on to star in Mel Brooks' "Blazing Saddles" three years later, while actress Charlotte Rampling, who was Oscar nominated for her work in "45 Years" in 2016, apparently appeared as...
The 1971 film didn't feature many stars, but did include a handful of actors who would become famous for other projects in the years following the film. Cleavon Little, who played radio DJ Super Soul in the film, went on to star in Mel Brooks' "Blazing Saddles" three years later, while actress Charlotte Rampling, who was Oscar nominated for her work in "45 Years" in 2016, apparently appeared as...
- 5/15/2024
- by Valerie Ettenhofer
- Slash Film
Mario Van Peebles has been tapped to direct “That’ll Be the Day,” the story of how Buddy Holly and other musicians of the late 1950s helped give birth to rock ‘n’ roll and influence the wider societal and cultural landscape, including the civil rights movement.
Music has been central to much of Van Peebles’ work, from his 1991 gangster movie “New Jack City” to his work on “Wu-Tang: An American Saga,” which he co-executive produced for Hulu. Van Peebles is currently writing a musical stage tribute to his father Melvin Van Peebles, to be performed at New York City’s Lincoln Center later this year.
“America’s tumultuous cultural melting pot has produced transcendent musical talent, including Buddy Holly, who was our first bad ass rock ’n’ roll nerd,” Van Peebles said in a statement.
His 2003 docudrama “Baadasssss!” pays homage to his father’s groundbreaking film “Sweet Sweetback’s Baadasssss Song.” His latest film,...
Music has been central to much of Van Peebles’ work, from his 1991 gangster movie “New Jack City” to his work on “Wu-Tang: An American Saga,” which he co-executive produced for Hulu. Van Peebles is currently writing a musical stage tribute to his father Melvin Van Peebles, to be performed at New York City’s Lincoln Center later this year.
“America’s tumultuous cultural melting pot has produced transcendent musical talent, including Buddy Holly, who was our first bad ass rock ’n’ roll nerd,” Van Peebles said in a statement.
His 2003 docudrama “Baadasssss!” pays homage to his father’s groundbreaking film “Sweet Sweetback’s Baadasssss Song.” His latest film,...
- 4/3/2024
- by Leo Barraclough
- Variety Film + TV
If Sergio Leone had ever signed on to make one of those ‘70s Blaxploitation oaters that once provided steady employment for Fred Williamson, it likely would have looked and sounded much like “Outlaw Posse,” a wildly uneven but cumulatively entertaining shoot-‘em-up that finds Mario Van Peebles doing triple duty as director, screenwriter and star. Quadruple duty, actually, if you count his credit as an executive producer.
“Outlaw Posse” has nothing to do with Van Peebles’ previous entry in this genre, 1993’s wild and woolly “Posse,” which suggests the multitasking filmmaker is tipping his Stetson to the multitude of ‘60s Spaghetti Westerns that, ahem, borrowed titles and eponymous characters from better known yet totally unrelated horse operas. But, then again, maybe not. Indeed, the film will probably be enjoyed most by folks not given to undue consideration of such trifling matters as lineage, logic and arrant anachronisms.
It’s 1908, and...
“Outlaw Posse” has nothing to do with Van Peebles’ previous entry in this genre, 1993’s wild and woolly “Posse,” which suggests the multitasking filmmaker is tipping his Stetson to the multitude of ‘60s Spaghetti Westerns that, ahem, borrowed titles and eponymous characters from better known yet totally unrelated horse operas. But, then again, maybe not. Indeed, the film will probably be enjoyed most by folks not given to undue consideration of such trifling matters as lineage, logic and arrant anachronisms.
It’s 1908, and...
- 2/29/2024
- by Joe Leydon
- Variety Film + TV
Reach for the sky cause Mario Van Peebles has returned to the old West! In 1993, Mario Van Peebles dabbled in the Western genre with Posse, which he had written, directed, and starred in. Now, Peebles has gotten back into the director’s chair for a new feature he wrote called Outlaw Posse. The trailer has now been released courtesy of Quiver Distribution and features Mario Van Peebles acting alongside his son, Mandela, who also plays his son in the movie. This keeps the tradition of the Van Peebles filmmaking lineage rolling along as Mario was also heavily involved with his father, Melvin Van Peebles’ film career. Mario would even make a biopic where he portrayed his own father with the film Baadasssss!, which is a play on the title of Melvin’s famous movie Sweet Sweetback’s Baadasssss Song.
One thing this film shares with the 1993 film, Posse, is the star-studded cast,...
One thing this film shares with the 1993 film, Posse, is the star-studded cast,...
- 1/18/2024
- by EJ Tangonan
- JoBlo.com
Herman Raucher, whose Oscar-nominated Summer of ’42 screenplay became one of Hollywood’s best-loved coming-of-age tales, has died of natural causes at Stamford Hospital in Stamford, Ct. He was 95.
His December 28 death was announced by daughter Jenny Raucher, who was by his side when he passed.
Subsequently adapted by Raucher into an international best-selling novel, 1971’s Summer of ’42 was nominated for four Academy Awards including Best Original Screenplay. It told the nostalgic and bittersweet story of teenager Hermie — played by Gary Grimes and based on Raucher himself — who, during a summertime vacation on Nantucket Island, becomes infatuated with a beautiful (and soon grieving) older woman (Jennifer O’Neill) whose husband has gone off to fight in World War II.
The film, directed by Robert Mulligan (To Kill a Mockingbird), was a critical success and a major hit for Warner Bros. Michel Legrand’s score won an Oscar and quickly became...
His December 28 death was announced by daughter Jenny Raucher, who was by his side when he passed.
Subsequently adapted by Raucher into an international best-selling novel, 1971’s Summer of ’42 was nominated for four Academy Awards including Best Original Screenplay. It told the nostalgic and bittersweet story of teenager Hermie — played by Gary Grimes and based on Raucher himself — who, during a summertime vacation on Nantucket Island, becomes infatuated with a beautiful (and soon grieving) older woman (Jennifer O’Neill) whose husband has gone off to fight in World War II.
The film, directed by Robert Mulligan (To Kill a Mockingbird), was a critical success and a major hit for Warner Bros. Michel Legrand’s score won an Oscar and quickly became...
- 1/3/2024
- by Greg Evans
- Deadline Film + TV
Sofia Coppola, whose awards contender “Priscilla” is now in theaters, is just one of several filmmakers whose parents were already major names in the industry. Both her father, Francis Ford Coppola, and her mother, Eleanor Coppola, are directors, as is her brother Roman.
Here are some of the most notable second-generation directors in Hollywood, including Jason Reitman, Rob Reiner, Mario Van Peebles and Colin Hanks.
We’re also a big fan of Francesca Scorsese’s TikTok videos with her dad, Martin Scorsese, especially the one where he auditions the family dog.
Photo credit: Getty Images
Ivan and Jason Reitman
Jason has picked up the “Ghostbusters” mantle from his father, who died in Feb. 2022. He directed “Ghostbusters: Afterlife” and the fourth film in the franchise is due in 2024. Jason’s films include “Up in the Air,” “Juno” and “Thank You For Smoking.”
Photo credit: Getty Images
Brandon and David Cronenberg
The...
Here are some of the most notable second-generation directors in Hollywood, including Jason Reitman, Rob Reiner, Mario Van Peebles and Colin Hanks.
We’re also a big fan of Francesca Scorsese’s TikTok videos with her dad, Martin Scorsese, especially the one where he auditions the family dog.
Photo credit: Getty Images
Ivan and Jason Reitman
Jason has picked up the “Ghostbusters” mantle from his father, who died in Feb. 2022. He directed “Ghostbusters: Afterlife” and the fourth film in the franchise is due in 2024. Jason’s films include “Up in the Air,” “Juno” and “Thank You For Smoking.”
Photo credit: Getty Images
Brandon and David Cronenberg
The...
- 11/9/2023
- by Sharon Knolle
- The Wrap
The undisputed champion of boxing movies is currently Michael B. Jordan. With Creed III, Jordan took another major leap forward in an already brilliant career by stepping behind the camera for the first time. Looking to do more than rehash a familiar genre, the 36-year-old turned to some unexpected sources for inspiration while figuring out how to be a double threat. The result: a significant amount of critical acclaim and high box office takings for the final leg of the well-liked trilogy.
Michael B. Jordan searched for new ways to film boxing scenes in ‘Creed III’
Dealing with the past has been an essential element of the Rocky franchise, dating back to the early Sylvester Stallone entries. For both Jordan and his character, Adonis Creed, the past is an inescapable part of the present. That theme comes right at the audience once again in Creed III, which pits Creed against...
Michael B. Jordan searched for new ways to film boxing scenes in ‘Creed III’
Dealing with the past has been an essential element of the Rocky franchise, dating back to the early Sylvester Stallone entries. For both Jordan and his character, Adonis Creed, the past is an inescapable part of the present. That theme comes right at the audience once again in Creed III, which pits Creed against...
- 3/18/2023
- by Produced by Digital Editors
- Showbiz Cheat Sheet
Andrew Woolfolk, the longtime saxophonist for Earth, Wind, and Fire and reliable hired gun for a slew of other artists, died Sunday, April 24. He was 71.
Earth, Wind, and Fire vocalist Phililp Bailey confirmed Woolfolk’s death on Instagram. Bailey noted that Woolfolk had been “ill [for] over a 6 years,” and in a separate statement shared with Rolling Stone, he added that Woolfolk had been battling the “effects of a debilitating stroke.”
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A post shared by Philip J. Bailey (@philipbaileyewf)
“I met him in high school, and...
Earth, Wind, and Fire vocalist Phililp Bailey confirmed Woolfolk’s death on Instagram. Bailey noted that Woolfolk had been “ill [for] over a 6 years,” and in a separate statement shared with Rolling Stone, he added that Woolfolk had been battling the “effects of a debilitating stroke.”
View this post on Instagram
A post shared by Philip J. Bailey (@philipbaileyewf)
“I met him in high school, and...
- 4/27/2022
- by Jon Blistein
- Rollingstone.com
On March 8, 1991, Mario Van Peebles’ feature directorial debut “New Jack City” premiered at the Mann Village Theatre in Westwood. On Saturday, a little more than 30 years later, Van Peebles walked the red carpet outside the very same cinema — now renamed the Regency Village Theatre — for a special screening of his classic crime thriller, hosted by the American Cinematheque.
Van Peebles was joined for the special event by “New Jack City” star Vanessa Estelle Williams, plus his children — Mandela and Makaylo, who joined their dad onstage to record his introduction to the movie, as well as Marley and Maya.
As Van Peebles reflected on the full-circle moment, he called out one of the gangster movie’s most famous (and Bible-borrowed) lines, “Am I my brother’s keeper?” and the massive crowd yelled back, “Yes I am.” The call and response is a reference to the iconic scene where (spoiler alert...
Van Peebles was joined for the special event by “New Jack City” star Vanessa Estelle Williams, plus his children — Mandela and Makaylo, who joined their dad onstage to record his introduction to the movie, as well as Marley and Maya.
As Van Peebles reflected on the full-circle moment, he called out one of the gangster movie’s most famous (and Bible-borrowed) lines, “Am I my brother’s keeper?” and the massive crowd yelled back, “Yes I am.” The call and response is a reference to the iconic scene where (spoiler alert...
- 4/14/2022
- by Angelique Jackson
- Variety Film + TV
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Apollo 10 ½ A Space Age Childhood (Richard Linklater)
A delightful meditation on childhood in the summer of 1969 set literally in the shadows of NASA’s central operations in Houston, Richard Linklater’s contemplative and vividly animated Apollo 10 ½ A Space Age Childhood reflects on the filmmaker’s own experiences. It captures the joy and wonder of childhood through the eyes of Stan, a ten-year-old who fantasizes about being recruited for “space camp” by NASA. His father (Bill Wise), a frugal but caring man, has uprooted his family from the city to a newly built suburban development in the shadow of the Astrodome and Astroworld amusement parks. Black’s adult narrator fills in the blanks for us with whimsical, nostalgic details that highlight just how...
Apollo 10 ½ A Space Age Childhood (Richard Linklater)
A delightful meditation on childhood in the summer of 1969 set literally in the shadows of NASA’s central operations in Houston, Richard Linklater’s contemplative and vividly animated Apollo 10 ½ A Space Age Childhood reflects on the filmmaker’s own experiences. It captures the joy and wonder of childhood through the eyes of Stan, a ten-year-old who fantasizes about being recruited for “space camp” by NASA. His father (Bill Wise), a frugal but caring man, has uprooted his family from the city to a newly built suburban development in the shadow of the Astrodome and Astroworld amusement parks. Black’s adult narrator fills in the blanks for us with whimsical, nostalgic details that highlight just how...
- 4/1/2022
- by Jordan Raup
- The Film Stage
The Criterion Channel’s February Lineup Includes Melvin Van Peebles, Douglas Sirk, Laura Dern & More
Another month, another Criterion Channel lineup. In accordance with Black History Month their selections are especially refreshing: seven by Melvin Van Peebles, five from Kevin Jerome Everson, and Criterion editions of The Harder They Come and The Learning Tree.
Regarding individual features I’m quite happy to see Abderrahmane Sissako’s fantastic Bamako, last year’s big Sundance winner (and Kosovo’s Oscar entry) Hive, and the remarkably beautiful Portuguese feature The Metamorphosis of Birds. Add a three-film Laura Dern collection (including the recently canonized Smooth Talk) and Pasolini’s rarely shown documentary Love Meetings to make this a fine smorgasboard.
See the full list of February titles below and more on the Criterion Channel.
Alan & Naomi, Sterling Van Wagenen, 1992
All That Heaven Allows, Douglas Sirk, 1955
The Angel Levine, Ján Kadár, 1970
Babylon, Franco Rosso, 1980
Babymother, Julian Henriques, 1998
Bamako, Abderrahmane Sissako, 2006
Beat Street, Stan Lathan, 1984
Blacks Britannica, David Koff, 1978
The Black Panthers: Vanguard of the Revolution,...
Regarding individual features I’m quite happy to see Abderrahmane Sissako’s fantastic Bamako, last year’s big Sundance winner (and Kosovo’s Oscar entry) Hive, and the remarkably beautiful Portuguese feature The Metamorphosis of Birds. Add a three-film Laura Dern collection (including the recently canonized Smooth Talk) and Pasolini’s rarely shown documentary Love Meetings to make this a fine smorgasboard.
See the full list of February titles below and more on the Criterion Channel.
Alan & Naomi, Sterling Van Wagenen, 1992
All That Heaven Allows, Douglas Sirk, 1955
The Angel Levine, Ján Kadár, 1970
Babylon, Franco Rosso, 1980
Babymother, Julian Henriques, 1998
Bamako, Abderrahmane Sissako, 2006
Beat Street, Stan Lathan, 1984
Blacks Britannica, David Koff, 1978
The Black Panthers: Vanguard of the Revolution,...
- 1/24/2022
- by Leonard Pearce
- The Film Stage
The journalist and podcaster talks about some of her favorite cinematic grifters and losers with Josh and Joe.
Show Notes: Movies Referenced In This Episode
Nightmare Alley (1947) – Stuart Gordon’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
All About Eve (1950)
The Hot Rock (1972) – Josh Olson’s trailer commentary
Die Hard (1988)
Sunset Boulevard (1950) – John Landis’s trailer commentary
The Producers (1967) – Charlie Largent’s Blu-ray review
Panic In The Streets (1950) – John Landis’s trailer commentary, Randy Fuller’s wine pairing
The Music Man (1962)
My Fair Lady (1964)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s review
The Band Wagon (1953) – John Landis’s trailer commentary
The Wizard Of Oz (1939) – John Badham’s trailer commentary
A Night At The Opera (1935) – Allan Arkush’s trailer commentary, Charlie Largent’s Blu-ray review
The Cocoanuts (1929)
Animal Crackers (1930) – Robert Weide...
Show Notes: Movies Referenced In This Episode
Nightmare Alley (1947) – Stuart Gordon’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
All About Eve (1950)
The Hot Rock (1972) – Josh Olson’s trailer commentary
Die Hard (1988)
Sunset Boulevard (1950) – John Landis’s trailer commentary
The Producers (1967) – Charlie Largent’s Blu-ray review
Panic In The Streets (1950) – John Landis’s trailer commentary, Randy Fuller’s wine pairing
The Music Man (1962)
My Fair Lady (1964)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s review
The Band Wagon (1953) – John Landis’s trailer commentary
The Wizard Of Oz (1939) – John Badham’s trailer commentary
A Night At The Opera (1935) – Allan Arkush’s trailer commentary, Charlie Largent’s Blu-ray review
The Cocoanuts (1929)
Animal Crackers (1930) – Robert Weide...
- 12/14/2021
- by Kris Millsap
- Trailers from Hell
Prisoners of the Ghostland screenwriter/producer Reza Sixo Safai joins hosts Josh Olson and Joe Dante to discuss his wildest cinematic experiences.
Show Notes: Movies Referenced In This Episode
Infested (2002)
The Howling (1981) – Josh Olson’s trailer commentary, Randy Fuller’s wine pairings
Hollywood Boulevard (1976) – Jon Davison’s trailer commentary
Bela Lugosi Meets A Brooklyn Gorilla (1952) – Joe Dante’s trailer commentary
Prisoners of the Ghostland (2021)
Mandy (2018)
Candy (1968) – Glenn Erickson’s trailer commentary
S.O.B. (1981)
The Shining (1980) – Adam Rifkin’s trailer commentary
Robin Hood (1973)
The Story of Robin Hood (1952)
Modern Times (1936)
The Kid (1921)
The Deer (1974)
A Girl Walks Home Alone At Night (2014) – Allan Arkush’s trailer commentary
Qeysar (1969)
The Empire Strikes Back (1980)
The Warriors (1979)
New Jack City (1991)
Colors (1988)
The Whip And The Body (1963)
Blow Out (1981) – Josh Olson’s trailer commentary
Porky’s (1981)
Cinema Paradiso (1988) – Glenn Erickson’s Region B Blu-ray review, Glenn Erickson’s 4K Blu-ray review
Circumstance (2011)
Ninja 3: The Domination (1984)
Flashdance (1983)
Debbie...
Show Notes: Movies Referenced In This Episode
Infested (2002)
The Howling (1981) – Josh Olson’s trailer commentary, Randy Fuller’s wine pairings
Hollywood Boulevard (1976) – Jon Davison’s trailer commentary
Bela Lugosi Meets A Brooklyn Gorilla (1952) – Joe Dante’s trailer commentary
Prisoners of the Ghostland (2021)
Mandy (2018)
Candy (1968) – Glenn Erickson’s trailer commentary
S.O.B. (1981)
The Shining (1980) – Adam Rifkin’s trailer commentary
Robin Hood (1973)
The Story of Robin Hood (1952)
Modern Times (1936)
The Kid (1921)
The Deer (1974)
A Girl Walks Home Alone At Night (2014) – Allan Arkush’s trailer commentary
Qeysar (1969)
The Empire Strikes Back (1980)
The Warriors (1979)
New Jack City (1991)
Colors (1988)
The Whip And The Body (1963)
Blow Out (1981) – Josh Olson’s trailer commentary
Porky’s (1981)
Cinema Paradiso (1988) – Glenn Erickson’s Region B Blu-ray review, Glenn Erickson’s 4K Blu-ray review
Circumstance (2011)
Ninja 3: The Domination (1984)
Flashdance (1983)
Debbie...
- 11/9/2021
- by Kris Millsap
- Trailers from Hell
After a hiatus where New York’s theaters closed during the pandemic, we’re delighted to announce the return of NYC Weekend Watch, our weekly round-up of repertory offerings. While many theaters are still focused on a selection of new releases, a handful of worthwhile repertory screenings are taking place.
Bam
Rarely screened and fully restored, Jacques Rivette’s masterpieces Duelle and Noroît are now playing.
Roxy Cinema
A 35mm double-feature of Demonlover and Tobe Hooper’s Lifeforce is running this weekend.
Metrograph
“Get Crazy” includes Buñuel, Assayas, Visconti, and Minnelli, while a 4K restoration of Possession continues.
Film at Lincoln Center
A restoration of Sweet Sweetback’s Baadasssss Song has begun running.
IFC Center
While the 4K restoration of Kiyoshi Kurosawa’s masterpiece Cure continues and World of Wong Kar-wai keeps going, Arrebato, Crash, and Mulholland Dr. have showings.
Anthology Film Archives
Restorations of the experimental filmmaker Marjorie Keller run this weekend.
Bam
Rarely screened and fully restored, Jacques Rivette’s masterpieces Duelle and Noroît are now playing.
Roxy Cinema
A 35mm double-feature of Demonlover and Tobe Hooper’s Lifeforce is running this weekend.
Metrograph
“Get Crazy” includes Buñuel, Assayas, Visconti, and Minnelli, while a 4K restoration of Possession continues.
Film at Lincoln Center
A restoration of Sweet Sweetback’s Baadasssss Song has begun running.
IFC Center
While the 4K restoration of Kiyoshi Kurosawa’s masterpiece Cure continues and World of Wong Kar-wai keeps going, Arrebato, Crash, and Mulholland Dr. have showings.
Anthology Film Archives
Restorations of the experimental filmmaker Marjorie Keller run this weekend.
- 10/15/2021
- by Nick Newman
- The Film Stage
The 4K restoration (released this month by Cohen Media and featured at the New York Film Festival) of Joan Micklin Silver’s 1975 “Hester Street” is getting deserved credit as a rare female-directed American film from its era. The black and white feature, set in the mostly Jewish immigrant community in New York’s Lower East side in the 1890s, overcame tough odds on multiple fronts to become a significant financial success.
The film grossed $5 million by the end of its run, the equivalent of over $22 million today. All this on a budget of $375,000 (about $1.7 million now). That was a significant success, even if at the time it wasn’t supplemented by home video, and as a black and white film it had limited interest for broadcast television.
Micklin Silver’s film is getting renewed credit for its quality, as well as for being the debut film that caused her to break out as a director.
The film grossed $5 million by the end of its run, the equivalent of over $22 million today. All this on a budget of $375,000 (about $1.7 million now). That was a significant success, even if at the time it wasn’t supplemented by home video, and as a black and white film it had limited interest for broadcast television.
Micklin Silver’s film is getting renewed credit for its quality, as well as for being the debut film that caused her to break out as a director.
- 10/13/2021
- by Tom Brueggemann
- Indiewire
When screenwriter, director, producer, actor, novelist, stock options trader, playwright, musician, newspaper columnist and gallery artist Melvin Van Peebles died last week at the age of 89, he left behind one of the most varied and entertaining bodies of work in all of American arts and letters. He’s best known for his revolutionary 1971 feature Sweet Sweetback’s Baadasssss Song, but that classic—important as it is as a point of reference and inspiration for generations of independent filmmakers—only scratches the surface of Van Peebles’s genius and audacity. Thankfully, the Criterion Collection […]
The post Jim Hemphill’s Home Video Recommendations: “Melvin Van Peebles: Essential Films,” Love and Basketball and Masquerade first appeared on Filmmaker Magazine.
The post Jim Hemphill’s Home Video Recommendations: “Melvin Van Peebles: Essential Films,” Love and Basketball and Masquerade first appeared on Filmmaker Magazine.
- 10/1/2021
- by Jim Hemphill
- Filmmaker Magazine-Director Interviews
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Melvin Van Peebles. (Courtesy of Shadow & Act)We're deeply saddened by the news that the great Melvin Van Peebles has died. A filmmaker, director, novelist, playwright, and composer, Van Peebles was a pioneer of independent cinema, best known for his films Watermelon Man (1970) and Sweet Sweetback's Baadasssss Song (1971). In an official statement, Van Peebles' son, filmmaker Mario Van Peebles, states: "He was a pioneer, a maverick and one cool cat." Exiled Iranian filmmaker Bahman Ghobadi has published an open letter to the Academy of Motion Picture Arts and Sciences, discussing the struggles faced by refugees whose films are censored, banned, and restricted from being shown to the Academy. Ghobadi proposes "a refugee team of filmmakers; they can have their works viewed by a jury and eventually one movie can be chosen from the refugee team.
- 9/29/2021
- MUBI
On Wednesday, legendary filmmaking maverick Melvin Van Peebles died at the age of 89. Four days later, his son Mario was onstage to introduce his father’s most iconic achievement, as “Sweet Sweetback’s Baadasssss Song” screened in a new 4K restoration by the Criterion Collection at the New York Film Festival. The outdoor event, taking place in the newly opened NYFF venue of Damrosch Park, served as a timely reminder of the movie’s massive cultural impact as well as its value in proving that movies with Black protagonists had commercial appeal.
“This film was made at a time when you didn’t really see Black people onscreen with facial hair,” Mario told the crowd, “let alone some of the crazy shit my dad does in this movie.”
In addition to pursuing his own career as an actor and filmmaker, the younger Van Peebles has been the caretaker of his father’s legacy for decades,...
“This film was made at a time when you didn’t really see Black people onscreen with facial hair,” Mario told the crowd, “let alone some of the crazy shit my dad does in this movie.”
In addition to pursuing his own career as an actor and filmmaker, the younger Van Peebles has been the caretaker of his father’s legacy for decades,...
- 9/27/2021
- by Eric Kohn
- Indiewire
The planned Broadway revival of Melvin Van Peebles’ Ain’t Supposed to Die a Natural Death is still on track for its 2022 debut, The Hollywood Reporter confirmed, following the death of the beloved actor, filmmaker, playwright, novelist and composer at the age of 89.
The show’s spokesperson, Rick Miramontez, confirmed that the team is currently at work on the production which will now feature a dedication. The show’s book, music and lyrics were written by Van Peebles, who notably directed Watermelon Man and Sweet Sweetback’s Baadasssss Song.
The groundbreaking musical features various vignettes of life and pain in a poor Black neighborhood during ...
The show’s spokesperson, Rick Miramontez, confirmed that the team is currently at work on the production which will now feature a dedication. The show’s book, music and lyrics were written by Van Peebles, who notably directed Watermelon Man and Sweet Sweetback’s Baadasssss Song.
The groundbreaking musical features various vignettes of life and pain in a poor Black neighborhood during ...
- 9/23/2021
- The Hollywood Reporter - Movie News
The planned Broadway revival of Melvin Van Peebles’ Ain’t Supposed to Die a Natural Death is still on track for its 2022 debut, The Hollywood Reporter confirmed, following the death of the beloved actor, filmmaker, playwright, novelist and composer at the age of 89.
The show’s spokesperson, Rick Miramontez, confirmed that the team is currently at work on the production which will now feature a dedication. The show’s book, music and lyrics were written by Van Peebles, who notably directed Watermelon Man and Sweet Sweetback’s Baadasssss Song.
The groundbreaking musical features various vignettes of life and pain in a poor Black neighborhood during ...
The show’s spokesperson, Rick Miramontez, confirmed that the team is currently at work on the production which will now feature a dedication. The show’s book, music and lyrics were written by Van Peebles, who notably directed Watermelon Man and Sweet Sweetback’s Baadasssss Song.
The groundbreaking musical features various vignettes of life and pain in a poor Black neighborhood during ...
- 9/23/2021
- The Hollywood Reporter - Film + TV
Melvin Van Peebles, who died Sept. 21 at 89, was not the inventor of Black cinema, but it’s no exaggeration to say that he smashed open the door to Black cinema as we know it. It’s a door that, until he came along, had been wedged tightly shut — by Hollywood and by mainstream American culture. There were a handful of Black actors who were stars, like Sidney Poitier and Lena Horne and Cicely Tyson, and a handful of films by Black filmmakers, but there was still a vast roster of things that Black artists working in the movies could and could not do. Van Peebles stood in front of his audience, holding that roster in hand, and burned it.
He was a novelist, a playwright, a recording artist, an actor, a director, a groundbreaker, a visionary: the filmmaker as one-man band. In key ways, he changed movie history, and if...
He was a novelist, a playwright, a recording artist, an actor, a director, a groundbreaker, a visionary: the filmmaker as one-man band. In key ways, he changed movie history, and if...
- 9/23/2021
- by Owen Gleiberman
- Variety Film + TV
Updated, The 2022 Broadway revival of Melvin Van Peebles’ groundbreaking 1971 musical Ain’t Supposed to Die a Natural Death will go on as planned, producers — including the late filmmaker’s son Mario Van Peebles — confirmed today.
Showbiz & Media Figures We’ve Lost In 2021 – Photo Gallery
The previously announced revival will now be dedicated to the playwright, who died Tuesday at the age of 89.
The musical, with Mario Van Peebles onboard as Creative Producer, will be directed by Tony Award winner Kenny Leon.
The planned 2022 revival was announced in March by producer Lia Vollack. Production details, including the complete cast and additional creative team, will be announced at a later date.
Broadway Revival Of Melvin Van Peebles’ ‘Ain’t Supposed To Die A Natural Death’ Will Go On As Planned, But Now With A Special Dedication
Ain’t Supposed to Die a Natural Death features a book and score by Melvin Van Peebles,...
Showbiz & Media Figures We’ve Lost In 2021 – Photo Gallery
The previously announced revival will now be dedicated to the playwright, who died Tuesday at the age of 89.
The musical, with Mario Van Peebles onboard as Creative Producer, will be directed by Tony Award winner Kenny Leon.
The planned 2022 revival was announced in March by producer Lia Vollack. Production details, including the complete cast and additional creative team, will be announced at a later date.
Broadway Revival Of Melvin Van Peebles’ ‘Ain’t Supposed To Die A Natural Death’ Will Go On As Planned, But Now With A Special Dedication
Ain’t Supposed to Die a Natural Death features a book and score by Melvin Van Peebles,...
- 9/23/2021
- by Greg Evans
- Deadline Film + TV
As you probably already know, it was announced yesterday that the influential filmmaker, Melvin Van Peebles, passed away. And as with the passing of any sort of filmmaking royalty, folks from the industry went to social media to share kind words.
Read More: Criterion To Release ‘Melvin Van Peebles: Four Films’ Blu-Ray Collection This September
Ava DuVernay shared a quote by Van Peebles, a filmmaker she called “iconic.” The quote read, “You have to not let yourself believe you can’t.
Continue reading R.I.P. Melvin Van Peebles: Mario Van Peebles, Ava DuVernay, Barry Jenkins & More Remember The Iconic Filmmaker at The Playlist.
Read More: Criterion To Release ‘Melvin Van Peebles: Four Films’ Blu-Ray Collection This September
Ava DuVernay shared a quote by Van Peebles, a filmmaker she called “iconic.” The quote read, “You have to not let yourself believe you can’t.
Continue reading R.I.P. Melvin Van Peebles: Mario Van Peebles, Ava DuVernay, Barry Jenkins & More Remember The Iconic Filmmaker at The Playlist.
- 9/23/2021
- by Charles Barfield
- The Playlist
Influential film-maker whose 1971 hit Sweet Sweetback’s Baadasssss Song is credited with launching the blaxploitation genre
In his own words, the film-maker Melvin Van Peebles, who has died aged 89, was “the Rosa Parks of the industry”. He was one of the few African-American directors to have moved within the Hollywood studio system when, in 1970, Columbia gave him a three-picture contract. But Columbia balked at the incendiary plot of his next project, about a black hustler who kills white police officers and escapes scot-free, so Van Peebles borrowed $50,000 from the actor Bill Cosby, raised an additional $150,000, and launched an independent production as writer, director, producer, editor, composer and lead actor.
Shot guerrilla-style over 19 days, Sweet Sweetback’s Baadasssss Song (1971) was a huge commercial success and effectively launched the blaxploitation genre, which gave black actors an unprecedented array of leading roles. However, Van Peebles was ambivalent about the genre, as he believed it often...
In his own words, the film-maker Melvin Van Peebles, who has died aged 89, was “the Rosa Parks of the industry”. He was one of the few African-American directors to have moved within the Hollywood studio system when, in 1970, Columbia gave him a three-picture contract. But Columbia balked at the incendiary plot of his next project, about a black hustler who kills white police officers and escapes scot-free, so Van Peebles borrowed $50,000 from the actor Bill Cosby, raised an additional $150,000, and launched an independent production as writer, director, producer, editor, composer and lead actor.
Shot guerrilla-style over 19 days, Sweet Sweetback’s Baadasssss Song (1971) was a huge commercial success and effectively launched the blaxploitation genre, which gave black actors an unprecedented array of leading roles. However, Van Peebles was ambivalent about the genre, as he believed it often...
- 9/23/2021
- by Chris Wiegand
- The Guardian - Film News
One of the most influential Black filmmakers of all time passed away in his home on Tuesday night. Melvin Van Peebles cemented his legacy with films like the radical comedy "Watermelon Man" and the blaxploitation masterpiece "Sweet Sweetback's Baadasssss Song." He was 89-years-old.
His family, Janus Films, and The Criterion Collection all released a statement today announcing his death, stating, "In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music."
Melvin Van Peebles is remembered as the godfather of modern Black cinema, influencing...
The post Melvin Van Peebles, Pioneer of Black Cinema, Dead at 89 appeared first on /Film.
His family, Janus Films, and The Criterion Collection all released a statement today announcing his death, stating, "In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music."
Melvin Van Peebles is remembered as the godfather of modern Black cinema, influencing...
The post Melvin Van Peebles, Pioneer of Black Cinema, Dead at 89 appeared first on /Film.
- 9/22/2021
- by BJ Colangelo
- Slash Film
As word came in about the death of Melvin Van Peebles, tributes quickly poured in for a “true revolutionary” and a “genius auteur” from filmmakers and actors such as Spike Lee, Barry Jenkins, Ava DuVernay and David Alan Grier.
The godfather of Black cinema, who died in his home on Tuesday night at age 89, was hailed by critics and Hollywood stars as an example an “iconic” figure who inspired countless generations of filmmakers and shaped popular culture years in the future.
“He made the most of every second, of Every single damn frame,” Jenkins said, recalling a meeting with Van Peebles one night many years ago. “The man just absolutely Lived.”
His son, actor-director Mario Van Peebles, also paid tribute. “Dad knew that Black images matter. If a picture is worth a thousand words, what is a movie worth? We want to be the success we see, thus we need to see ourselves being free,...
The godfather of Black cinema, who died in his home on Tuesday night at age 89, was hailed by critics and Hollywood stars as an example an “iconic” figure who inspired countless generations of filmmakers and shaped popular culture years in the future.
“He made the most of every second, of Every single damn frame,” Jenkins said, recalling a meeting with Van Peebles one night many years ago. “The man just absolutely Lived.”
His son, actor-director Mario Van Peebles, also paid tribute. “Dad knew that Black images matter. If a picture is worth a thousand words, what is a movie worth? We want to be the success we see, thus we need to see ourselves being free,...
- 9/22/2021
- by Brian Welk
- The Wrap
Melvin Van Peebles, an actor, writer, director, producer and icon of Black cinema whose films include Sweet Sweetback’s Baadasssss Song and Watermelon Man, died Tuesday night at his Manhattan home. He was 89.
Showbiz & Media Figures We’ve Lost In 2021 – Photo Gallery
His death was confirmed by his son, Mario Van Peebles, who said in a statement: “Dad knew that Black images matter. If a picture is worth a thousand words, what was a movie worth? We want to be the success we see, thus we need to see ourselves being free. True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.”
Janus Films and Criterion Collection also announced the news on Twitter and said in a statement: “In an unparalleled career, distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the...
Showbiz & Media Figures We’ve Lost In 2021 – Photo Gallery
His death was confirmed by his son, Mario Van Peebles, who said in a statement: “Dad knew that Black images matter. If a picture is worth a thousand words, what was a movie worth? We want to be the success we see, thus we need to see ourselves being free. True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.”
Janus Films and Criterion Collection also announced the news on Twitter and said in a statement: “In an unparalleled career, distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the...
- 9/22/2021
- by Erik Pedersen
- Deadline Film + TV
Melvin Van Peebles, an icon of Black cinema who acted in and directed influential ’70s films like “Watermelon Man” and “Sweet Sweetback’s Baadasssss Song,” died Tuesday at age 89.
His actor-director son Mario Van Peebles announced the news of his passing on Wednesday along with the Criterion Collection and Janus Films. No cause of death was given.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read.
“Dad knew that Black images matter. If a picture is worth a thousand words, what is a movie worth? We want to be the success we see, thus we need to see ourselves being free,” Mario Van Peebles wrote in a statement. “True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.
His actor-director son Mario Van Peebles announced the news of his passing on Wednesday along with the Criterion Collection and Janus Films. No cause of death was given.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read.
“Dad knew that Black images matter. If a picture is worth a thousand words, what is a movie worth? We want to be the success we see, thus we need to see ourselves being free,” Mario Van Peebles wrote in a statement. “True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.
- 9/22/2021
- by Brian Welk
- The Wrap
Melvin Van Peebles, the influential filmmaker behind “Sweet Sweetback’s Baadassss Song,” and father of director and actor Mario Van Peebles, has died. He was 89.
“Dad knew that Black images matter,” Mario Van Peebles said in a statement from the Criterion Collection. “If a picture is worth a thousand words, what was a movie worth? We want to be the success we see, thus we need to see ourselves being free. True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.”
“Sweet Sweetback” will be screened at the New York Film Festival this week for a 50th anniversary tribute. “In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the Criterion Collection said.
Melvin and Mario Van...
“Dad knew that Black images matter,” Mario Van Peebles said in a statement from the Criterion Collection. “If a picture is worth a thousand words, what was a movie worth? We want to be the success we see, thus we need to see ourselves being free. True liberation did not mean imitating the colonizer’s mentality. It meant appreciating the power, beauty and interconnectivity of all people.”
“Sweet Sweetback” will be screened at the New York Film Festival this week for a 50th anniversary tribute. “In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the Criterion Collection said.
Melvin and Mario Van...
- 9/22/2021
- by Carmel Dagan
- Variety Film + TV
Multi-hyphenate talent Melvin Van Peebles has died at the age of 89. The news was announced on Wednesday by The Criterion Collection and Janus Films, which shared it on behalf of the entire Van Peebles family. The “giant of American Cinema” passed away on September 21 at home with his family.
Van Peebles gave American independent cinema exactly what it needed, when it needed it most: an explosive shake-up, with his unfiltered expression of Black consciousness and energetic style. The anarchic 1971 blaxploitation classic “Sweet Sweetback’s Baadasssss Song” undeniably shifted the course of American film history, and it was just one piece of a remarkably varied career that also encompassed forays into European arthouse cinema (“The Story of a Three Day Pass”), Hollywood comedy (“Watermelon Man”), Broadway productions (“Don’t Play Us Cheap”), novels, and performances. He was a transformative artist whose biting observations of social mores, unapologetic radicalism, and vision established a model for Black creative independence.
Van Peebles gave American independent cinema exactly what it needed, when it needed it most: an explosive shake-up, with his unfiltered expression of Black consciousness and energetic style. The anarchic 1971 blaxploitation classic “Sweet Sweetback’s Baadasssss Song” undeniably shifted the course of American film history, and it was just one piece of a remarkably varied career that also encompassed forays into European arthouse cinema (“The Story of a Three Day Pass”), Hollywood comedy (“Watermelon Man”), Broadway productions (“Don’t Play Us Cheap”), novels, and performances. He was a transformative artist whose biting observations of social mores, unapologetic radicalism, and vision established a model for Black creative independence.
- 9/22/2021
- by Tambay Obenson and Kate Erbland
- Indiewire
Upon learning that Melvin Van Peebles died Tuesday night at age 89, many Hollywood directors and writers took to social media to share how Van Peebles was a pioneer in filmmaking.
Van Peebles died at his home in Manhattan, his family, The Criterion Collection and Janus Films announced in a statement.
Considered by many to be the godfather of modern Black cinema, Van Peebles’ credits include the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, Don’t Play Us Cheap! (1973) and Identity Crisis (1989). His musical about Black urban life, Ain’t Supposed to Die a Natural Death, received Tony nominations for best book and best original ...
Van Peebles died at his home in Manhattan, his family, The Criterion Collection and Janus Films announced in a statement.
Considered by many to be the godfather of modern Black cinema, Van Peebles’ credits include the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, Don’t Play Us Cheap! (1973) and Identity Crisis (1989). His musical about Black urban life, Ain’t Supposed to Die a Natural Death, received Tony nominations for best book and best original ...
- 9/22/2021
- The Hollywood Reporter - Film + TV
Upon learning that Melvin Van Peebles died Tuesday night at age 89, many Hollywood directors and writers took to social media to share how Van Peebles was a pioneer in filmmaking.
Van Peebles died at his home in Manhattan, his family, The Criterion Collection and Janus Films announced in a statement.
Considered by many to be the godfather of modern Black cinema, Van Peebles’ credits include the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, Don’t Play Us Cheap! (1973) and Identity Crisis (1989). His musical about Black urban life, Ain’t Supposed to Die a Natural Death, received Tony nominations for best book and best original score ...
Van Peebles died at his home in Manhattan, his family, The Criterion Collection and Janus Films announced in a statement.
Considered by many to be the godfather of modern Black cinema, Van Peebles’ credits include the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, Don’t Play Us Cheap! (1973) and Identity Crisis (1989). His musical about Black urban life, Ain’t Supposed to Die a Natural Death, received Tony nominations for best book and best original score ...
- 9/22/2021
- The Hollywood Reporter - Movie News
Melvin Van Peebles, the pioneering African American auteur behind the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, has died. He was 89.
Van Peebles, the father of actor-director Mario Van Peebles, died Tuesday night at his home in Manhattan. His family, The Criterion Collection and Janus Films announced his death in a statement.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read. “His work continues to be essential and is ...
Van Peebles, the father of actor-director Mario Van Peebles, died Tuesday night at his home in Manhattan. His family, The Criterion Collection and Janus Films announced his death in a statement.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read. “His work continues to be essential and is ...
- 9/22/2021
- The Hollywood Reporter - Film + TV
Melvin Van Peebles, the pioneering African-American auteur behind the 1970s films Watermelon Man and Sweet Sweetback’s Baadasssss Song, has died. He was 89.
Van Peebles, the father of actor-director Mario Van Peebles, died Tuesday night at his home in Manhattan. His family, The Criterion Collection and Janus Films announced his death in a statement.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read. “His work continues to be essential and is being ...
Van Peebles, the father of actor-director Mario Van Peebles, died Tuesday night at his home in Manhattan. His family, The Criterion Collection and Janus Films announced his death in a statement.
“In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read. “His work continues to be essential and is being ...
- 9/22/2021
- The Hollywood Reporter - Movie News
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Each month, the Criterion Collection gives us a new batch of digitally remastered movies from across the globe. If you’re looking to discover new classics, or maybe check out an old favorite, try the vast collection of gems the Criterion Collection has to offer. The upcoming releases for the month of September (and a couple from October) range from drama to horror, film noir, and more. To help with your love of discovering films, we’ve put together a list of films that have been restored like never before and contain exclusive bonus content. The roster not only contains great options for your next movie night, but great gift options as well.
Each month, the Criterion Collection gives us a new batch of digitally remastered movies from across the globe. If you’re looking to discover new classics, or maybe check out an old favorite, try the vast collection of gems the Criterion Collection has to offer. The upcoming releases for the month of September (and a couple from October) range from drama to horror, film noir, and more. To help with your love of discovering films, we’ve put together a list of films that have been restored like never before and contain exclusive bonus content. The roster not only contains great options for your next movie night, but great gift options as well.
- 9/4/2021
- by Angel Saunders
- Indiewire
Groundbreaking works by John Carpenter, Mira Nair, Melvin Van Peebles, Nina Menkes and Michael Powell will be featured in the Revivals lineup of the 59th New York Film Festival. These films, which range from historical dramas to pulpy crime thrillers, have been digitally remastered and restored.
Films being highlighted this year include a 4K restoration of Carpenter’s “Assault on Precinct 13,” Powell’s “Bluebird’s Ghost,” Menkes’s “The Bloody Child,” Nair’s “Mississippi Masala” and Van Peebles’s “Sweet Sweetback’s Baadasssss Song.”
“One of the biggest satisfactions of programming Revivals within this festival is looking back at cinematic treasures of the past and seeing their continuity and relevance with today’s cinema,” said Florence Almozini, Flc Senior Programmer at Large. “We think this selection is both a celebration and a thought-provoking adventure, and we hope audiences will enjoy exploring it, whether they are seeing these films for the first or 20th time.
Films being highlighted this year include a 4K restoration of Carpenter’s “Assault on Precinct 13,” Powell’s “Bluebird’s Ghost,” Menkes’s “The Bloody Child,” Nair’s “Mississippi Masala” and Van Peebles’s “Sweet Sweetback’s Baadasssss Song.”
“One of the biggest satisfactions of programming Revivals within this festival is looking back at cinematic treasures of the past and seeing their continuity and relevance with today’s cinema,” said Florence Almozini, Flc Senior Programmer at Large. “We think this selection is both a celebration and a thought-provoking adventure, and we hope audiences will enjoy exploring it, whether they are seeing these films for the first or 20th time.
- 8/17/2021
- by Brent Lang
- Variety Film + TV
The writer/director returns to talk about his favorite Blaxploitation movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Man Bites Dog (1992)
Trick Baby (1972)
The Exorcist (1973) – Oren Pelli’s trailer commentary
The Untouchables (1987)
Predator (1987)
Purple Rain (1984) – Josh Olson’s trailer commentary
The Loved One (1965) – Larry Karaszewski’s trailer commentary
Live And Let Die (1973)
Enter The Dragon (1973) – Larry Karaszewski’s trailer commentary, Brian Trenchard-Smith’s trailer commentary
The Green Hornet (1974)
The Rocky Horror Picture Show (1975) – Darren Bousman’s trailer commentary
The Last Dragon (1985) – Larry Karaszewski’s trailer commentary
Dead Presidents (1995)
Hell Up In Harlem (1973) – Larry Cohen’s trailer commentary
Black Caesar (1973) – Larry Cohen’s trailer commentary
Shaft (1971) – Bill Duke’s trailer commentary, Randy Fuller’s wine pairing
Sweet Sweetback’s Baadasssss Song (1971)
Coffy (1973) – Jack Hill’s trailer commentary
Midnight Cowboy (1969) – Glenn Erickson’s Criterion Blu-ray review
Taxi Driver (1976) – Rod Lurie’s trailer commentary
Boxcar Bertha (1972) – Julie Corman...
Show Notes: Movies Referenced In This Episode
Man Bites Dog (1992)
Trick Baby (1972)
The Exorcist (1973) – Oren Pelli’s trailer commentary
The Untouchables (1987)
Predator (1987)
Purple Rain (1984) – Josh Olson’s trailer commentary
The Loved One (1965) – Larry Karaszewski’s trailer commentary
Live And Let Die (1973)
Enter The Dragon (1973) – Larry Karaszewski’s trailer commentary, Brian Trenchard-Smith’s trailer commentary
The Green Hornet (1974)
The Rocky Horror Picture Show (1975) – Darren Bousman’s trailer commentary
The Last Dragon (1985) – Larry Karaszewski’s trailer commentary
Dead Presidents (1995)
Hell Up In Harlem (1973) – Larry Cohen’s trailer commentary
Black Caesar (1973) – Larry Cohen’s trailer commentary
Shaft (1971) – Bill Duke’s trailer commentary, Randy Fuller’s wine pairing
Sweet Sweetback’s Baadasssss Song (1971)
Coffy (1973) – Jack Hill’s trailer commentary
Midnight Cowboy (1969) – Glenn Erickson’s Criterion Blu-ray review
Taxi Driver (1976) – Rod Lurie’s trailer commentary
Boxcar Bertha (1972) – Julie Corman...
- 8/3/2021
- by Kris Millsap
- Trailers from Hell
Just past the halfway point in the documentary Mr. Soul!, poet Felipe Luciano calls Ellis Haizlip “the most effective, insidious revolutionary that I have ever met.” It isn’t meant as a specific accolade, but it is a badge of honor for a man who honored the true meaning of sedition. Subversion in the arts is a skill which can be expressed as simply as putting a mustache on the Mona Lisa. Seditious political expression is rarely so subtle. The creator and host of the all-too-short lived public television variety program Soul! achieved a dream mix of diverse thought, some which went under the radar, some designed to be unnoticed, all of which was riveting, and everything absolutely accessible.
Soul! captured everyday insurrection. Melvin Van Peebles’ 1971 independent feature Sweet Sweetback’s Baadasssss Song proclaimed to be unapologetically Black, Haizlip saw no reason to bring apology into the equation. Nothing he was doing,...
Soul! captured everyday insurrection. Melvin Van Peebles’ 1971 independent feature Sweet Sweetback’s Baadasssss Song proclaimed to be unapologetically Black, Haizlip saw no reason to bring apology into the equation. Nothing he was doing,...
- 7/31/2021
- by Alec Bojalad
- Den of Geek
Melvin Van Peebles and Perry Henzell made seminal 70s films – now their kids have recovered their fathers’ would-be classics
Justine Henzell and Mario Van Peebles both know what it’s like to grow up on movie sets as the child of a groundbreaking director. Henzell was six in 1972 when her father, Perry, finished The Harder They Come, Jamaica’s first full-length feature, starring the reggae legend Jimmy Cliff as a fugitive whose musical success coincides with his criminal notoriety. Van Peebles even starred in his father Melvin’s third film, the 1971 underground hit Sweet Sweetback’s Baadasssss Song, which is credited with inspiring the Blaxploitation genre.
As adults, each of them has now had a hand in rescuing and restoring great movies by their fathers that might otherwise have been lost or neglected: Henzell’s more ruminative second feature No Place Like Home, which was lost for more than 20 years, and Van Peebles’s stylish,...
Justine Henzell and Mario Van Peebles both know what it’s like to grow up on movie sets as the child of a groundbreaking director. Henzell was six in 1972 when her father, Perry, finished The Harder They Come, Jamaica’s first full-length feature, starring the reggae legend Jimmy Cliff as a fugitive whose musical success coincides with his criminal notoriety. Van Peebles even starred in his father Melvin’s third film, the 1971 underground hit Sweet Sweetback’s Baadasssss Song, which is credited with inspiring the Blaxploitation genre.
As adults, each of them has now had a hand in rescuing and restoring great movies by their fathers that might otherwise have been lost or neglected: Henzell’s more ruminative second feature No Place Like Home, which was lost for more than 20 years, and Van Peebles’s stylish,...
- 7/29/2021
- by Ryan Gilbey
- The Guardian - Film News
As Gordon Parks’ blaxploitation classic “Shaft,” released nationwide on July 2, 1971, celebrates its 50th anniversary, a proper revision of its ethos is overdue. An anachronistic “Shaft” that promotes an outmoded 007 brand of masculine toxicity — an obsession with shiny possessions including cars, clothing, guns, and of course, women, while relishing violence as the most innate means to an end — may not quite cut it anymore.
That doesn’t mean the character should be neutered; but a post-Trump, post-George Floyd “Shaft” should intrigue executives in an industry that loves to exploit known IP, especially as it contends with an uncertain, rapidly evolving environment. The world does not need a Black James Bond right now; it needs a “Shaft,” updated to clash head-on with a backdrop that isn’t all that different from the era that led to a proliferation of movies like it.
For years, Idris Elba has had to react to...
That doesn’t mean the character should be neutered; but a post-Trump, post-George Floyd “Shaft” should intrigue executives in an industry that loves to exploit known IP, especially as it contends with an uncertain, rapidly evolving environment. The world does not need a Black James Bond right now; it needs a “Shaft,” updated to clash head-on with a backdrop that isn’t all that different from the era that led to a proliferation of movies like it.
For years, Idris Elba has had to react to...
- 7/4/2021
- by Tambay Obenson
- Indiewire
Fifty years ago this month, Isaac Hayes changed the course of movie music with his score for “Shaft.” Not only did Hayes, 29 at the time, become the first Black man to win a music Oscar for his title song, but the success of his two-lp soundtrack album assured that every Black action-adventure film for the next several years would be scored by a major artist of color.
“It was the achievement of his life,” says his son, Isaac Hayes III, “coming from poverty the way that he did, and the struggles that he had. ‘Shaft’ was something otherworldly for a kid from Memphis, Tennessee, that picked cotton, worked in a hog factory and got all the way to the Academy Awards. As a Black man, in 1971, it was incredible.”
“Shaft” came during changing times for movie music — it followed successful pop and rock soundtrack albums for “The Graduate” and “Easy Rider...
“It was the achievement of his life,” says his son, Isaac Hayes III, “coming from poverty the way that he did, and the struggles that he had. ‘Shaft’ was something otherworldly for a kid from Memphis, Tennessee, that picked cotton, worked in a hog factory and got all the way to the Academy Awards. As a Black man, in 1971, it was incredible.”
“Shaft” came during changing times for movie music — it followed successful pop and rock soundtrack albums for “The Graduate” and “Easy Rider...
- 6/25/2021
- by Jon Burlingame
- Variety Film + TV
Living as an ex-pat in Paris in the late 1950s, Melvin Van Peebles taught himself the language and wrote five books in French. The fifth, 1967’s “La Permission,” became the basis for his 1968 feature-film debut, “The Story of a Three-Day Pass.” A commentary on France’s contradictory attitudes about race, it’s an exploration of an interracial relationship between a Black American GI stationed in France and a white Parisian woman. A 4K restoration by IndieCollect, in consultation with his son Mario Van Peebles, opened in US theaters May 14.
The re-release isn’t tied to a milestone anniversary. “There’s a renewed interest in looking at Black history, given all that’s happened in the last few years, and you see it on the screen,” Mario said. “It’s also an anniversary of all things Van Peebles in a way: ‘Sweet Sweetback’s Baadasssss Song’ celebrates its 50-year anniversary this year.
The re-release isn’t tied to a milestone anniversary. “There’s a renewed interest in looking at Black history, given all that’s happened in the last few years, and you see it on the screen,” Mario said. “It’s also an anniversary of all things Van Peebles in a way: ‘Sweet Sweetback’s Baadasssss Song’ celebrates its 50-year anniversary this year.
- 5/17/2021
- by Tambay Obenson
- Indiewire
Sweet Sweetback’s Baadasssss Song, which turns 50 this month, is the opposite of the definition imposed on it. The 1971 film inspired the Blaxploitation genre, but Melvin Van Peebles exploited no one but himself. He got the money together, wrote the script and the music, selected the shots, aimed the camera, and starred in the film. He even did the stunts and post-production editing. Everything that came after was a reaction to his revolution. The father of Black cinema is one of the godfathers of independent filmmaking, and he turned everything upside down doing it.
Sweet Sweetback’s Baadasssss Song defies all expectations. Unapologetically Black, it flips every stereotype back on itself. It reconstructs the constrictions of sexual identification. It wasn’t made for the institution. It was made for the people. “This film is dedicated to all the Brothers and Sisters who had enough of the Man,” reads the opening titles. That...
Sweet Sweetback’s Baadasssss Song defies all expectations. Unapologetically Black, it flips every stereotype back on itself. It reconstructs the constrictions of sexual identification. It wasn’t made for the institution. It was made for the people. “This film is dedicated to all the Brothers and Sisters who had enough of the Man,” reads the opening titles. That...
- 4/27/2021
- by Alec Bojalad
- Den of Geek
Melvin Van Peebles is someone that revolutionized Black cinema. But when people think of his early work, many people just talk about “Sweet Sweetback’s Baadasssss Song.” That’s understandable, as that film is one of the most famous of the early ‘70s. However, thanks to Janus Films, people are going to be reintroduced to the feature directorial debut from Van Peebles, “The Story of a Three-Day Pass.”
Read More: ‘New Order’ Trailer: Michel Franco’s Near-Future Dystopian Thriller Arrives In Theaters This May
With a new 4K restoration of “The Story of a Three-Day Pass” coming to theaters (both virtual and physical) next month, we’re happy to give our readers an exclusive look at the new trailer for Mario Van Peebles oft-forgotten debut film.
Continue reading ‘The Story Of A Three-Day Pass’ Trailer: Melvin Van Peebles Underseen Debut Gets The Restoration Treatment [Exclusive] at The Playlist.
Read More: ‘New Order’ Trailer: Michel Franco’s Near-Future Dystopian Thriller Arrives In Theaters This May
With a new 4K restoration of “The Story of a Three-Day Pass” coming to theaters (both virtual and physical) next month, we’re happy to give our readers an exclusive look at the new trailer for Mario Van Peebles oft-forgotten debut film.
Continue reading ‘The Story Of A Three-Day Pass’ Trailer: Melvin Van Peebles Underseen Debut Gets The Restoration Treatment [Exclusive] at The Playlist.
- 4/22/2021
- by Charles Barfield
- The Playlist
Melvin Van Peebles’s landmark movie opened the door not only for black film-making but for independent movies in general
“This film is dedicated to all the Brothers and Sisters who had enough of the Man,” declare the opening titles of Sweet Sweetback’s Baadasssss Song. When it was released, 50 years ago this month, that was a lot of them. Melvin Van Peebles’s landmark movie arrived at a time when the civil rights movement had barely translated into tangible progress, and was even in danger of being rolled back, what with the recent assassinations of Martin Luther King, Malcolm X and so many others. The Brothers and Sisters had also had enough of the Man’s movies: the only African American representation Hollywood permitted were characters who were either subservient to white folks or super-exemplary, such as Sidney Poitier.
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Continue reading.
“This film is dedicated to all the Brothers and Sisters who had enough of the Man,” declare the opening titles of Sweet Sweetback’s Baadasssss Song. When it was released, 50 years ago this month, that was a lot of them. Melvin Van Peebles’s landmark movie arrived at a time when the civil rights movement had barely translated into tangible progress, and was even in danger of being rolled back, what with the recent assassinations of Martin Luther King, Malcolm X and so many others. The Brothers and Sisters had also had enough of the Man’s movies: the only African American representation Hollywood permitted were characters who were either subservient to white folks or super-exemplary, such as Sidney Poitier.
Related: The Guide: Staying In – sign up for our home entertainment tips
Continue reading.
- 3/15/2021
- by Steve Rose
- The Guardian - Film News
“The Dark Knight,” “Grease,” “The Blues Brothers,” “Shrek” and “A Clockwork Orange” have been added to the Library of Congress’ National Film Registry.
Each year, the Library of Congress inducts 25 films, nominated by the public, into the National Film Registry. As of 2020, the registry has reached 800 movies that will be preserved by the national archive. This year’s list included a record number of films directed by women (nine) and by people of color (seven).
Other films inducted this year include the Best Picture winner “The Hurt Locker,” “The Joy Luck Club,” “The Man With the Golden Arm,” “Lilies of the Field” and “Buena Vista Social Club.”
To be inducted, a movie must be at least 10 years old and must be “culturally, historically or aesthetically significant.” While “The Dark Knight” is among the biggest blockbusters on the list of inducted films (“Titanic” also has a spot on the list), the...
Each year, the Library of Congress inducts 25 films, nominated by the public, into the National Film Registry. As of 2020, the registry has reached 800 movies that will be preserved by the national archive. This year’s list included a record number of films directed by women (nine) and by people of color (seven).
Other films inducted this year include the Best Picture winner “The Hurt Locker,” “The Joy Luck Club,” “The Man With the Golden Arm,” “Lilies of the Field” and “Buena Vista Social Club.”
To be inducted, a movie must be at least 10 years old and must be “culturally, historically or aesthetically significant.” While “The Dark Knight” is among the biggest blockbusters on the list of inducted films (“Titanic” also has a spot on the list), the...
- 12/14/2020
- by Brian Welk
- The Wrap
The National Film Registry at the Library of Congress has selected 25 new films for preservation, including The Dark Knight, Shrek, and The Blues Brothers.
An announcement on the Library of Congress website explained that the Film Registry chooses movies based on their “cultural, historic or aesthetic importance to the nation’s film heritage.” The 2020 titles boast a mix of “blockbusters, musicals, silent films, documentaries, and diverse stories transferred from books to screen.” This year’s class also features a record number of films directed by women (nine) and filmmakers of...
An announcement on the Library of Congress website explained that the Film Registry chooses movies based on their “cultural, historic or aesthetic importance to the nation’s film heritage.” The 2020 titles boast a mix of “blockbusters, musicals, silent films, documentaries, and diverse stories transferred from books to screen.” This year’s class also features a record number of films directed by women (nine) and filmmakers of...
- 12/14/2020
- by Jon Blistein
- Rollingstone.com
Since 1989, the National Film Registry of the Library of Congress has been accomplishing the important task of preserving films that “represent important cultural, artistic and historic achievements in filmmaking.” From films way back in 1897 all the way up to 2020, they’ve now reached 800 films that celebrate our heritage and encapsulate our film history.
Today they’ve unveiled their 2020 list, which includes Stanley Kubrick’s A Clockwork Orange, Christopher Nolan’s The Dark Knight, Kathryn Bigelow’s The Hurt Locker, Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song, the Sidney Poitier-led Lillies of the Field, Ida Lupino’s Outrage, Kathleen Collins’ Losing Ground, Julie Dash’s Illusions, plus Grease, Blues Brothers, Wattstax, and more.
“The National Film Registry is an essential American enterprise that officially recognizes the rich depth and variety, the eloquence and the real greatness of American cinema and the filmmakers who have created it, film by film,...
Today they’ve unveiled their 2020 list, which includes Stanley Kubrick’s A Clockwork Orange, Christopher Nolan’s The Dark Knight, Kathryn Bigelow’s The Hurt Locker, Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song, the Sidney Poitier-led Lillies of the Field, Ida Lupino’s Outrage, Kathleen Collins’ Losing Ground, Julie Dash’s Illusions, plus Grease, Blues Brothers, Wattstax, and more.
“The National Film Registry is an essential American enterprise that officially recognizes the rich depth and variety, the eloquence and the real greatness of American cinema and the filmmakers who have created it, film by film,...
- 12/14/2020
- by Jordan Raup
- The Film Stage
“The Dark Knight,” “Shrek,” “Grease,” “The Blues Brothers,” “Lillies of the Field,” “The Hurt Locker,” “A Clockwork Orange,” “The Joy Luck Club” and “The Man With the Golden Arm” are among this year’s additions to the National Film Registry by the Library of Congress.
“This is not only a great honor for all of us who worked on ‘The Dark Knight,’ this is also a tribute to all of the amazing artists and writers who have worked on the great mythology of Batman over the decades,” said Christopher Nolan, director of “The Dark Knight.”
“Lillies of the Field” star Sidney Poitier, who became the first Black person to win the Oscar for best actor, said, “‘Lilies of the Field’ stirs up such great remembrances in our family, from the littlest Poitiers watching a young and agile ‘Papa’ to the oldest – Papa Sidney himself!”
Janet Yang, producer of “The Joy Luck Club,...
“This is not only a great honor for all of us who worked on ‘The Dark Knight,’ this is also a tribute to all of the amazing artists and writers who have worked on the great mythology of Batman over the decades,” said Christopher Nolan, director of “The Dark Knight.”
“Lillies of the Field” star Sidney Poitier, who became the first Black person to win the Oscar for best actor, said, “‘Lilies of the Field’ stirs up such great remembrances in our family, from the littlest Poitiers watching a young and agile ‘Papa’ to the oldest – Papa Sidney himself!”
Janet Yang, producer of “The Joy Luck Club,...
- 12/14/2020
- by Dave McNary
- Variety Film + TV
The Library of Congress has unveiled its annual list of 25 movies to make the cut for the National Film Registry. The selection this year, considered among America’s most influential motion pictures, includes such titles as Christopher Nolan’s 2008 The Dark Knight; DreamWorks Animation’s Shrek, 1978 summer musical smash Grease and 1980 John Belushi/Dan Aykroyd comedy The Blues Brothers.
The list also notably shines a spotlight this year on diverse stories and filmmakers including Wayne Wang’s 1993 The Joy Luck Club; 1963’s Lilies Of The Field, for which Sidney Poitier became the first African American to win the Oscar for Best Actor; Melvin Van Peebles’ 1971 Sweet Sweetback’s Baadasssss Song; 2010 documentary Freedom Riders; and 1982’s Losing Ground from Kathleen Collins.
Out of the 25 movies selected, there is a record number of films directed by women including Losing Ground, as well as Kathryn Bigelow’s Oscar winner The Hurt Locker, 1913 silent film Suspense,...
The list also notably shines a spotlight this year on diverse stories and filmmakers including Wayne Wang’s 1993 The Joy Luck Club; 1963’s Lilies Of The Field, for which Sidney Poitier became the first African American to win the Oscar for Best Actor; Melvin Van Peebles’ 1971 Sweet Sweetback’s Baadasssss Song; 2010 documentary Freedom Riders; and 1982’s Losing Ground from Kathleen Collins.
Out of the 25 movies selected, there is a record number of films directed by women including Losing Ground, as well as Kathryn Bigelow’s Oscar winner The Hurt Locker, 1913 silent film Suspense,...
- 12/14/2020
- by Nancy Tartaglione
- Deadline Film + TV
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