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Diana Ross stars as legendary blues singer Billie Holiday in this biopic that chronicles her rise and fall. It begins with her late childhood, a stint as a prostitute, those early days as a blues singer, her marriages, and her drug addiction. Overly glossy and lacking depth, this is worth seeing only for the performances. Diana Ross was nominated for an Oscar for her acting debut. A dynamo with sparkling screen presence, she realistically conveys the confusion and unhappiness that caused Holiday so much grief. Her performance is almost matched by romantic interest Billy Dee Williams. Watch for Richard Pryor, who is most powerful in a dramatic supporting role as the piano player in a brothel. --Rochelle O'Gorman ... Read more

Reviews (29)

Awesome story, even better acting and producing!!!
I have always been a huge fan of Diana Ross and Lady Day, but putting that aside this movie is truly worth every penny, every minute you spend watching. The Billie Holiday story stands by itself as an incredible testimony to what it was like to be black in 1930's America, but add to that Diana's vulnerability and beautiful voice and you have one of the best stories ever put on film!!!! I just can't wait until it is put on DVD with 5.0 dolby digital sound..........does anyone out there know when that might happen????? :) Buy the movie, you will not regret it.

Not Billie's real story, but I give Diana props
I'm not a Diana Ross fan, but in this movie, she was excellent and convincing as Lady Day. Dynamic performances by Billy Dee Williams and Richard Pryor as well. My only fault with this movie that it was not Billie Holiday's real story. It was filled with inaccuracies and purely fictional situations. Even Berry Gordy, Ross' one-time lover and mentor, admitted that the script was bogus, but it still was very riveting. This was Ross' first film and even though she never took a drama lesson in her life, she pulled this off with no problem. Definitely worth checking out.

Not only is the film historically inaccurate,
but it's an absolute DISGRACE to the memory and legacy of the real Lady Day. Diana was a decent (solo) to great(Supremes) soul singer, but she's no great actor. She's simply competent ... watching Mahogany proves that beyond a shadow of a doubt. To do the story of Billie Holiday, easily one of the most influential and lasting jazz/torch singers of the 20th century, and not cast a known quantity was a serious mistake on Gordy and Motown's part. Not only didn't Ross look the part, she certainly didn't act it, and her voice is nothing like Billie's;it's far weaker and devoid of the "body" Lady Day had. The only bright spot in this was Rochard Pryor's part, even though, again, it was 99% fiction. Save your time, save your money. Buy a Billie Holiday CD, her autobiography, and enjoy the real thing. Maybe one day someone will make a REAL film bio of the Lady.

Inaccurate, but the performances are powerful
The complex life of jazz singer Billie Holiday cannot be summed up in a two-and-a-half hour film unless it's a documentary. Therefore, LADY SINGS THE BLUES misses the boat in portraying Billie's life, but hits the target in casting Diana Ross, Billy Dee Williams and Richard Pryor. The chemistry between these three thespians are a joy to behold. And Ms. Ross sings Billie's songs very well without resorting to imitating the jazz legend.

MINUS 2 STARS FOR INACCURACY...
But a STRONG 3 stars for Diana's acting and rendering of Billie's tunes (I got chills when she sang "Strange Fruit"). This story doesn't represent the life of Billie Holiday AT ALL, but it was a nice fantasy. I must admit that Billie Dee Williams' over-the-top performance was really annoying, hokey and downright laughable. Richard Pryor added a lovable and humorous spark to the flick that was unforgettable! I'm hoping the reason it's taking so long for this movie to come out on DVD is that they are going to make it fabulous with all sorts of extra features and whatnot. Otherwise:

WHAT'S TAKING SO LONG FOR THIS MOVIE TO COMING OUT ON DVD?!?!?!?! ... Read more

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Novelist James Clavell wrote, produced, and directed this 1967 British film (based on a novel by E.R. Braithwaite) about a rookie teacher who throws out stock lesson plans and really takes command of his unruly, adolescent students in a London school. Poitier is very good as a man struggling with the extent of his commitment to the job, and even more as a teacher whose commitment is to proffering life lessons instead of academics. The spirit of this movie can be found in such recent films as Dangerous Minds and Mr. Holland's Opus, but none is as moving as this one. Besides, the others don't have a title song performed by pop star Lulu. --Tom Keogh ... Read more

Reviews (44)

Poitier Is Masterful
1967 was an incredible year for Sidney Poitier. He starred in three magnificent films, the Academy Award winning films, In The Heat Of the Night & Guess Who's Coming To Dinner and this superb movie. Mr. Poitier stars as Mark Thackery who is an engineer, but in need of a job accepts a teaching position at a tough West End school. His class is made up of unruly ruffians and at first they rebel against him. It becomes obvious to Thackery that these kids don't have an interest in learning normal academics and that none of them will pursue higher education so he decides to prepare them for live by giving them lessons on how to cope in the real world. He gives cooking lessons, make up lessons for the girls, takes them to museums and they develop a respect and love for each other. Judy Geeson is fabulous as Pamela Dare, a blond beauty who develops a crush on Thackery. Christian Roberts is Devin the leader of the group. He is a thug not use to rules and is constantly testing Thackery. Lulu is Babs Pegg and she does a credible acting job and supplies the film with its famous theme song. Michael Des Barres has a minor part as one of the students and he would go on to minor rock career and marry one of the most famous of all rock groupies Pamela Des Barres. Mr. Poitier is the glue that holds the film together and he is equally forceful and compassionate in his performance. To sir With Love is dated in some ways with regards to the fashions and slang language, but it's story is timeless

Flawlessly wonderful
This is my all-time favorite movie. The story is of a Black engineer, born in British Guyana and educated in California, who takes a job teaching at a high school in a depressed area of London. He has no teaching experience, and so develops his teaching style from his own experience. Gradually the relationship between the teacher (Poitier) and his students evolves from suspicion, to respect, to love. There is the obligatory romantic attraction between Poitier and one of his students, Judy Geeson. (Geeson, who plays this part with endearing and convincing sweetness, grew up to become the supercilious and insufferable across-the-hall neighbor from Paul Reiser and Helen Hunt in the TV sitcom "Mad About You").

Everything is perfect in this movie. If you can watch the very last scene without tears, then you are stronger than I. In retrospect, I think this movie was one of the influences which caused me to become a teacher, 17 years after I first saw it. I hope it has done the same for some others, and that it will continue to do so in the future. See it!

Heartwarming Film
Poitier is a stunning actor.

This is a heartwarming film. This is a good feel-good movie for anyone who may be feeling down!

Jeffrey C. McAndrew
author of "Our Brown-Eyed Boy"

One of Sidney Poitier's outstanding movies
This movie, based on E.R. Braithwaite's book, was one of the outstanding movies of Sidney Poitier. I am a sucker of such movies, especially as I can relate to them. I was in a difficult school during my teenage years with bad schoolmates and some good teachers set me straight, otherwise, I would have been in trouble. This movie inspired many other movies but did not do such a splendid job. The main difference was the script and the actors.

Sidney plays the part of Mark Thackerey who is an engineer who does not get a job as an engineer and decides to become a teacher as an intermediate job. In the East End school he sees how bad the standards of the students are and realizes that he is not making any difference. Finally one day he loses his cool, and then hits on an idea to change the students attitude. Gradually, the students warm up to him. Though some of the ideas might be dated (language, customs etc) for the present day, the ideas of racism, generation difference, teacher-student trust and problems are well brought out. This is still a timeless classic and for anyone who has worked with schools, teachers and problem students.

The DVD quality is excellent. Both video and sound transfer are good. Sidney is Sidney, what can I say, his quiet, dignified style of acting and the way he handles all the situations by showing his emotions is fantastic. The theme song of this movie is also special. Do not miss this movie.

A BEAUTIFUL FILM
"To Sir With Love" was a beautiful story about a black teacher, Sidney Poitier, who overcomes racial barriers to teach West London toughs and toughettes the meaning of life. It was, literally, banned in Alabama, which was ruled entirely by...the Democrat party. In 1967, Poitier again stirred the red-necks with "In the Heat of the Night", where he plays Virgil Tibbs, a competent Philadelphia cop stuck overnight in a Mississippi town. It must be 110 degrees at night. The white boys sweat like stuck pigs while Virgil is as cool as a cucumber in a Savoy Row suit. The sheriff, Rod Steiger, is discomfited by circumstances in which Tibbs is "lent" to him to solve a murder that happens to occur when he is there. In working together, layer after layer of characterization is stripped away in marvelous fashion, through the skill of director Norman Jewison (who tells everybody he is not a Jew, he is Methodist), until understanding between the two men become a metaphor for the healing of a divided America. Very good stuff.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

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This 1967 film took home lots of Oscars for its fascinating drama about a Philadelphia detective (Sidney Poitier) who assists a redneck Southern sheriff (Rod Steiger) in solving a murder. A study in racism that ebbs a bit through the collective and shared need between a black man and a white man who don't want to be working together, the film continues to strike a chord today. Steiger is a mass of snarling danger, Poitier a bundle of nerves covered in class. Norman Jewison (Moonstruck) directs with a keen feeling for the cultural and social atmosphere of the setting. --Tom Keogh ... Read more

Reviews (34)

Explosive Mystery-Drama
In The Heat Of The Night is an explosively powerful murder mystery that at the time of its release in 1967 was quite controversial. It deals with a black detective, Virgil Tibbs (Sidney Poitier) going to a small southern town to investigate a murder. At first he meets the usually hatred and racism from the local cops led by the gruff and racist sheriff, Bill Gillespie (Rod Steiger) He is arrested and accused of the murder, but when discovered innocent, he goes on to solve the mystery and gain the respect of the sheriff. Both Mr. Poitier and Mr. Steiger are brilliant in the film. Although they do sometimes plays things over the top, the acting fits the mood. The actors make a fine team and they push one another to excellence. The supporting cast is quite strong with Lee Grant, Warren Oates and William Schallert and Norman Jewison guides the movie with his deft hand. Haskell Wexler's cinematography is sharp and Quincy Jones' soundtrack is right on. The film went on to win the Best Picture Oscar and Mr. Steiger took home the Best Actor prize.

Cinema's all-time best detective thriller.
Between the dark film noir of "The Maltese Falcon" and the creepy gorefests inspired by "The Silence of the Lambs," the detective film wasn't exactly a vital film genre. But at least one entry into the genre made a major impact during those years, and that was 1967's "In the Heat of the Night." Since it was released, much has been made of the movie's status as a powerful story of race relations during the time of segregation, but the fact is, these elements are somewhat secondary to its brilliant character studies and expertly-handled mystery investigation. This is THE detective film, and quite possibly THE police film as well.

The film begins with Bill Gillespie (Rod Steiger) -- sheriff of the small town of Sparta, Mississippi -- investigating the scene where a powerful businessman has been murdered. Gillespie's deputies arrest a traveller named Virgil Tibbs (Sidney Poitier) for the murder simply on the grounds that he is black, but he turns out to be a homicide detective from Philadelphia who was just passing through. After being cleared, Tibbs is anxious to leave Sparta, but Gillespie -- in need of such an expert -- convinces him to stay and help solve the case. And from there, we have our movie.

Besides the story, the main thing "In the Heat of the Night" has going for it are the performances of its lead actors. It would have been incredibly easy to portray Tibbs as a noble black crusader, forced by his innate nobility to offer his help in the face of hatred (Poitier had played this type of good-natured gentleman in many of his other films). It would have been even easier for Gillespie to come off as a mindless racist redneck. Neither description comes anywhere close to describing the characters in this film. Virgil Tibbs is arrogant and aloof when we first meet him. He's no hero; he's a real human being who reacts to the way the Sparta police have treated him in the understandable manner of trying to get out of town as quickly as possible. He doesn't want to help them, and even when he's forced to, he lets his prejudices against Southern whites cloud his investigation (Tibbs spends the majority of the film believing one of the victim's business rivals -- a detestable racist -- to be the murderer, only to be proven wrong).

If Poitier's portrayal of Tibbs as a realistic human being rather than a flawless screen hero is admirable, then Rod Steiger's handling of the Sheriff Gillespie character is downright masterful. Bill Gillespie does not like or trust African-Americans, and he makes no secret of this. And yet the filmmakers didn't fall into a cliche trap and take care to show that even though Gillespie is a bigot, he's also a good cop. Unlike certain similar characters (and even some of his deputies in this film), Gillespie doesn't allow his prejudices to stand in the way of his investigation (a character flaw that, oddly enough, Tibbs gives in to while Gillespie does not). This is no "Bull Connor" character; this is a man who knows his job, and does it well. Tibbs and Gillespie begin the movie as two prejudiced men who begrudgingly admit to needing each other's help due to the circumstances (Gillespie's lack of a homicide expert; Tibbs' being forced to remain in an unfamiliar and hostile environment), and end it with a powerful respect for one another.

"In the Heat of the Night" won Best Picture at the 1968 Academy Awards (the first detective film to do so), and Steiger took home the Best Actor award for his career-best portrayal of Gillespie. (Because this, "Guess Who's Coming to Dinner," and "To Sir, With Love" were all released in the same year, Poitier was unable to consolidate enough votes for any one film and thus failed to be nominated; Norman Jewison lost Best Director to "The Graduate"'s Mike Nichols.) That perfectly sums up this film's legacy: a brilliant film with two powerful lead performances, and an all-time classic of the detective genre.

Just About as Good as a Movie Gets
In 1967 Poitier made this movie and Look Who's Coming to Dinner. Both were extremely well received and this won academy awards for best picture and best actor. Poitier's career slid downhill from here almost immediately. That his status as The Greatest Black Actor Ever hasn't diminished nearly 40 years later is a testament to his excellence and influence in the late 50's and the 60's up until '67. The movie is nearly perfect. Rod Steiger gives the performance of his career. Poitier is excellent, of course. The story is good but the movie is really about the racial tensions and two men forced to work together despite their desire not to be in the same room together. Also at hand is a backward and archaic South being slowly dragged kicking and screaming into postwar 20th century.

TENSIONS FLAIR IN THE HEAT OF THIS NIGHT!
"In The Heat of the Night" is the racially charged melodrama that made Sidney Poitier a star. Poitier is Det. Virgil Tibbs, an out of state detective assigned to investigate a racially motivated crime in the deep South. Tibbs' initial congenial good nature immediate brand him a push over by both his fellow officers and the populous. But Tibbs is a man of conviction. He immediately runs into interference from Police Chief Bill Gillespie (Rod Steiger), a bigoted and pompous law man who begins to change his ways when it turns out that Virgil's hunch on the case might just turn out to be true. Both the central performances of Poitier and Steiger, and the unlikely bond and ultimate friendship that ensue, are electrifying reasons to revisit this powerful drama of the 1960s. Lee Grant, Beah Richards and Warren Oates costar. In the late 80s "In The Heat of the Night" became a prime time television series starring Caroll O'Connor. But by then much of the tempestuous and confrontational aspects of its subplot had been removed.

MGM/UA gives us a non-anamorphic widescreen DVD. Colors are severely dated with a lot of fading present throughout the print. Age related artifacts are everywhere and sometimes distract. Black levels are often weak. Pixelization is primarily responsible for an unstable image. The audio is mono and badly dated as well, strident and poorly balanced. There are no extras.

STEIGER AND POITIER AT THEIR HEIGHTS OF POWER
In 1967, Sidney Poitier again stirred the red-necks with "In the Heat of the Night", where he plays Virgil Tibbs, a competent Philadelphia cop stuck overnight in a Mississippi town. It must be 110 degrees at night. The white boys sweat like stuck pigs while Virgil is as cool as a cucumber in a Savoy Row suit. The sheriff, Rod Steiger, is discomfited by circumstances in which Tibbs is "lent" to him to solve a murder that happens to occur when he is there. In working together, layer after layer of characterization is stripped away in marvelous fashion, through the skill of director Norman Jewison (who tells everybody he is not a Jew, he is Methodist), until understanding between the two men become a metaphor for the healing of a divided America. Very good stuff.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

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This 1958 variation on Huck Finn's adventures with Jim finds a white convict (Tony Curtis) chained to a black convict (Sidney Poitier) as they both escape their captors. With each man literally stuck with the other, racial conflicts take a back seat to survival. Directed by Stanley Kramer (Guess Who's Coming to Dinner), the film's obvious consciousness-raising is mitigated by a pair of raw performances from the stars, memorable appearances by Lon Chaney Jr. and Cara Williams, and Kramer's strong storytelling abilities. The award-winning script was cowritten by blacklisted writer-actor Nedrick Young. --Tom Keogh ... Read more

Reviews (10)

Sidney Poitier -- NEED I SAY MORE -- From Las Vegas, NV
All I need to see is that Sidney Poitier is in a movie and it WILL BE A GOOD MOVIE. I thought that this movie with him and Tony Curtis was GREAT! I own almost every movie that is available that has Sidney Poitier in it. I was hooked on his movies and intrigued by Mr. Poitier when I saw "To Sir, With Love" for the first time. I have yet to see Sidney Poitier do a bad movie. This movie was done as a lot of his movies during the times when there was a lot of racial tension. I think that Sidney Poitier picked his movies carefully and all of them have had a very good point to make and in making the point on each of his movies they have all been good story lines. I really think that Sidney Poitier should have won a lot more academy awards than just the one for "Lilies of the Field"! I realize that this is more a commentary than a review, just wanted to put my thoughts down.

Poitier/Curtis Jail-Break Classic
Sidney Poitier continues to break race barriers with this formula jail-break drama. Teamed with Tony Curtis, the escaped prisoners encounter many situations, where their difference in color seems to matter more than the fact that both are fugitives from the law. Throughout the film, the viewer empathizes with the escapees, figuring that they always got a bum deal in life.

A scene towards the end, where a single mother sees a chance to "hook up" with Curtis, shows how Curtis, although often disagreeing, even physically fighting with Poitier, still sees Poitier as an equal in their quest for freedom. Rather than "sell out" his friend, he would rather die trying to save him. The inevidable ending (remember that one of the rules in Old Hollywood was that the bad guys can never win)is quite moving.

Definitely among the established Hollywood Classics. Although many of the "old ways" have changed drastically since the late 50s, this film offers insight into a piece of Americana many people living today can still recall. An important piece of Film Hostory, and highly recommended!*****

Curtis and Poitier Perfect Together
Typical felons on the run movie in all but the racial aspect. Curtis' character grows and matures throughout the movie. A fine acting job by Curtis. This is the 1st in a series of classic performances by Poitier. For nearly ten years, starting with The Defiant Ones, he was just about the best actor in Hollywood. Definately worth a look.

A great drama in black and white
This tough, gritty film may be tame by today's standards but was a bold cinematic statement when it was released in 1958. Two escaped convicts, one white and the other black, are chained to each other and in their break for freedom are forced to confront the harsh realities of racism at close quarters. Tony Curtis and Sidney Poitier provide expert characterizations of the two desperate men who are also chained by their fears and prejudices about each other's race, with each step in their journey to freedom brimming with venom and animosity. Ironically, it is a white woman who seals the bond of friendship between John Jackson and Noah Cullen by deliberately directing Cullen's escape route through a quicksand-filled swamp so she can run off with Jackson, with whom she's become smitten. Theodore Bikel, Charles McGraw and Lon Chaney Jr. are good in supporting roles and a real find is Cara Williams as the shapely, love-starved country woman so desperate to have a man in her life. Other than Poitier's sporadic warbling of "Long Gone", the only music of note in the movie is provided by Alfalfa's transistor radio that greatly annoys Capt. Gibbons.

About the love of two men
Both men love each other. One of them gives up freedom and the love of a woman to be with his man.
The last scene is the beautiful picture of both men holding each other tightly, their faces touching, and their eyes looking at the next 20 years when they will be always together, happy ever after. ... Read more

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Director Norman Jewison's (In the Heat of the Night) 1984 adaptation of the Pulitzer Prize-winning play explores the ramifications of racism and loyalty through the prism of blacks in the military, revealed through a murder mystery set in the 1940s deep South. Howard E. Rollins (Ragtime) plays a military investigator assigned to the murder of a drill instructor (Adolph Caesar) in charge of a black platoon. Under pressure from his superiors to wrap his investigation up quickly, Rollins instead delves deeply into the relationships between the despised drill instructor and his men, uncovering lies and animosity, and confronting the question of what it means to be black in a white man's world. Rollins is a riveting, stoic, and emotional lead, and Denzel Washington makes an early appearance as a soldier with a deep grudge against the drill instructor and a deep mistrust of Rollins' investigator. A powerfully written story that makes the most of its large and impressive ensemble cast, A Soldier's Story is a deeply affecting and worthwhile film. --Robert Lane ... Read more

Reviews (13)

Definately one of my favorite American movies.
I think the first time I saw this movie, was an edited TV version. I usually don't watch TV because I'm annoyed by commercial interruptions. But, this film captured my interest because of how well it played out as flashbacks being put together to come to a conclusion about a murder. This is a suspenseful story with an unexpected conclusion.
Tynin, Louisiana 1944. A black non-commissioned officer was murdered. Shot to death on a roadside near a bridge, outside of a predominately black army base with only white officers. A black army officer lawyer (Howard Rollins, Jr.) comes from Washington D.C. to Louisiana to investigate the murder. No one has ever seen a black officer before and white officers only heard of the possibility that a black man could be an officer. As you can imagine, this black officer doesn't get much support from the white officers on the base.
This is a powerful film of perseverance, courage, determination, pride, and accomplishment against overwhelming odds. And the cast is fabulous. Howard Rollins, Jr. Adolph Caesar, David Alan Grier, Denzel Washington, Art Evans, David Harris, Larry Riley (as C.J. Memphis), Wings Hauser, and many other stars you know you've seen before. And it even includes Patti Labelle as Big Mary belting out some fabulous Southern Rockin' Blues.
This is my very favorite film that has Denzel Washington, although "Mississippi Masala" is a close second.

A Spellbinding Tale, Brilliantly Told
A phenomenal cast brings Charles Fuller's adaptation of his Pulitzer Prize-winning play to the big screen. Howard E. Rollins, Jr., is magnetic as the Army Captain sent to investigate the murder of a black Sergeant in Louisiana during World War II; his careful detective work uncovers the complex layers of racism (both externalized and internalized) that led up to the crime. Adolph Caesar gives a superb, Oscar-nominated performance as the (unsympathetic) victim whose story is told through a series of flashbacks. And Larry Riley, David Alan Grier, Robert Townsend, and the always-magnificent Denzel Washington register strongly in important supporting roles. Effective as both a mystery and a social commentary, this worthy nominee for the 1984 Best Picture Oscar is tightly directed by Norman Jewison.

The DVD presentation of this recent screen classic offers an excellent film-to-video transfer, featuring a sharp picture and crisp sound. The disc contains both the widescreen and fullscreen editions, and includes the original theatrical trailer. Also offered is a short but very moving 1999 documentary entitled "March to Freedom", which recounts several astonishing real-life stories of racism in the American armed forces during World War II. All-in-all, this is a highly recommended DVD that deserves a place in your home video library.

A must see
This is a must see movie. It features some of the best African-American actors and has a story line that everyone can relate to.

Excellent
I found this movie to be a beautifully done flick. I remember going to the movies with my family to go see it. I was only 6 years old when it came out, but I remembered it. It also came on TV quite a few times, so I watched it then too. I recommend this movie for everyone to see. It's very compelling.

A Soldiers Story
This is one of my favorite movies...It is about a black army officers death..It deals with racial tention and even racism within the black race..The investigation is headed up by a black high ranked officer which was very rare in those days and that causes problems too..U will see many stars Like Denzel Washington, the guy that plays Moesha's daddy, Howard E.Rollins from In the Heat of the Night, and even Patti LaBelle..This is an excellent film.. ... Read more

Reviews (25)

Baadasssss is Bad asss
This movie was revolutionary. Unfortunately it spark the blaxploitation era in cinema, a genre of low budget kill whitey flics, that with their high violence, low budgets, and great soundtracks(minus the political message of Sweetback) began to define an era in cinema when black directors where able to make black movies with black cast in leading roles. Released independently by Melvin Van Peoples in 1971 at a time when blacks in the cinema was next to non-existent (unless they were docile and shuffling their feet). Sweetback tells the story of a man that has had enough of the man and fights back. This movie was revolutionary from its polititcal message to its cinematography. The cinematography of this film which set the president for all other blaxploitation movies to follow was amazing.

This film is for people who can appreciate independent films
This is a great film. The story line isn't completely coherent, but the cinematography is great, the soundtrack is great and the cast is great. The film edits and audio layering are so seventies but, so sweet; reminiscent of seventies porn (I'm not even talking about the sex scenes). I'm really glad I picked this one up. This film is for people who can appreciate independent films.

Please let's get serious ....
I bought this DVD based on a .... believe it or not .... three star review in USA Today film selections last week. The negative reviews didn't scare me because I have seen campy, thought provoking movies get drubbed before and I had to see for myself.

This DVD has hit the high point as to the worst garbage ever put on a DVD. The acting is the pitts, if you can call it acting. Matter of fact th other people watching with me had to keep asking if the hero of the film, played by Melvin Peebles, talked or if he was dumb. To even bring up cinematography and the name of this DVD in the same sentence is ludicrous. The one song track is so badly played it's repeated ad infinitum just in case you didn't get to hate it in the first place.

Toward the end of the movie, at least one quarter of the film by the way deals with short shots of a minute or less of Van Peebles running from the man through the brush, the sewer, the street, tunnels, railroad tracks, desert, parks, highways .... you get the picture .... To make matters worse, the best part of the movie was when after wearing the same crushed gold velour jump suit, and dark shirt, for the WHOLE movie during the last five minutes he FINALLY managed to convince a vagrant to change clothes with his ....

Finally, to equate this film with any sort of greatness of black society and their creative ability is really doing an injustice ...... please please please just because it's done by and about blacks does NOT make this DVD great .....

I am however giving serous consideration to cancelling my USA subscription!

Sweet Melvin's Horrible Asssss Movie
This is one of the worst motion pictures ever made and I am not exaggerating in the slightest. Forget the technical stuff-bad lighting, worse acting and no screenplay to speak of, this is boring, incoherent and almost unwatchably slow. It gets a lot of credit for being the grandaddy of "Blaxploitation" cinema, but the truth is black movies were about to happen anyway and this one just happened to get there first. If I could give this zero stars, I would, but unfortunately one is as low as you can go. Unmitigated crap!!!

Baaaaaddddd DVD quality
This movie may have been groundbreaking in its day, but the DVD is horrendous in terms of image and sound quality. Why wasn't this film cleaned up if it's an anniversary edition? The image has too much debris and the crackling and hissing in several sections of the soundtrack is annoying.

Some of the acting is amateurish, but there are moments when the cinematography, editing, and directing is excellent. I would given the movie 5 stars for its uniqueness alone had it not been for this grotesque DVD transfer! ... Read more

Reviews (13)

Great music, great cast, Ethel Waters at her best
This is a delightful film. The Broadway score, already one of the finer scores for its time, with the classics "Taking a chance on love" and "Cabin in the sky", was further improved with the addition of "Happiness is just a thing called Joe". There are several other wonderful numbers, including the Duke Ellington number with some great dancing, and "Bubbles" singing "Shine". The cast was the finest black talent of the day, and the movie demonstrates why Ethel Waters was considered the greatest singer and entertainer of her day. In this movie, she also demonstrates that she is a fine actress and a fine dancer. It's a pity that the racial climate of the time didn't allow her more films - she's as magical on screen as she was, by all reports, in person. The remainder of the cast includes a stunning young Lena Horne, surely one of the most beautiful women ever to appear on screen, and who is here allowed to be smolderingly sexy, Eddie "Rochester" Anderson, who's an endearing Little Joe, Rex Ingram as Lucifer Jr, and smaller but memorable appearances by Louis Armstrong, Butterfly McQueen, and "Bubbles" of Buck and Bubbles. Seeing Waters sing "Taking a chance on love", "cabin in the sky", "Happiness is just a thing called Joe" and her wicked reprise of "Honey in the honeycomb", complete with some dance steps that will floor you, is more than enough to recommend the movie, but all performances are delightful, and the songs and background music are great. If we take it as a "fable", as we are counseled to do at the beginning, then I don't see it as a racist or dated film. The characters are almost all well delineated and believable within the "fable" context, and are no more stereotypical in this context than numerous films of white people at the time that were also fantasies.

It's a pleasure to watch from beginning to end - clearly a timeless classic, especially valuable for archiving for all time the classic Waters performance and the superb acting, singing, dancing and comedic skills of some of the greatest black talent pre-World War II.

A TOUR-DE-FORCE OF TALENT FROM AN AMAZING CAST
In these enlightened times, a movie such as Cabin in the Sky - which is heavily laden with racial stereotypes - seems awkwardly out of place. However, before we all jump on the political correctness bandwagon, it's worth remembering that the movie was made during WW2, and that Civil Rights Movements were some 20 or so years in the future.

Much has been written about the plot, so I won't focus on that. I will say, however, that this movie is a tour-de-force of talent. It marked Vincent Minelli's directorial debut, and it's clear that he did a fine job. Eddie "Rochester" Anderson, Lena Horne and Ethel Waters all play their parts brilliantly. If there was any animosity between Lena and Ethel, it was easy to understand. Ethel fought tough and nail to climb the showbiz ladder, whereas Lena was the first African-American actress to be groomed specially for Hollywood. Ms Horne had specially designed gowns and mingled with the upper echelons of MGM. The moviemakers even created a special make up range for her in an effort to pass her off as an exotic Latin American belle. Lena refused to disrespect her race by denying her heritage.

Anyway, back to the film. It's Ethel Water's character, Petunia, that I warm to the most. She may have been downtrodden, and reduced to scrubbing floors. However, there's a down-to-earth warmth that radiates from her. Her rendition of "Happiness is a Thing Called Joe" is superb. The late Waters was a remarkable, versatile performer, and it's a shame that she's not as well known among the masses like Lena.

As for Lena's Georgia Brown, she's nothing short of breathtakingly beautiful. Ms Horne was something of a WW2 pin-up, and it's easy to see why. She tempts the viewers (and the censors, no doubt!) with her sexy lingerie, and isn't shy to show off a good bit of thigh! The only other African American woman who showed this much flesh was Josephine Baker, but she was doing her thing in Paris!

The songs by Duke Ellington are great. Also look out for a young Louis Armstrong - he plays one of Lucifer's hilarious angels!

Cabin in the Sky is fine musical - a classic, and it's high time is was released in the UK! However, us Brits will have to do with imports for the time being. As with all US video tapes, you'll need a VCR with NTSC playback to watch this movie.

Good Movie Fo Sho
Vincente Minnelli, who directed the film, Cabin in the Sky (1943), composed this 'race movie' with an all African American cast. What makes this film extraordinary is that Vincente Minnelli is a white director who filmed this picture with an all black cast. Around the early 1940's, mainstream production studios (Hollywood) noticed that these 'race movies' which consisted of African American directors/producers/casts, were producing huge sums of money. In an attempt to tap this newly discovered source of money, the mainstream film industry began to produce these race films which consisted of white directors/producers, but included an all African American cast. In Cabin in the Sky, Minnelli includes many social issues that black America faced during this time. A major issue that black America faced back in the 1940's and still today which Minnelli included in this film is obtaining identity/home.
An example of obtaining home can be explained by the scene where the character Little Joe (Eddie "Rochester" Anderson) dies and rises out of his body only to awake to the presence of Lucifer Jr. (Rex Ingram). As Lucifer Jr. describes to Little Joe all of the evil things that will come to him in Hell, Little Joe screams out, "I don't want to die, I just wanna' go back home to Petunia." In this scene, Little Joe identifies home as Earth, all the physical objects in which he can interact with (the absence of the spiritual world). Another example of home can be identified with the character Petunia (Ethel Waters) in the scene where she sits beside Little Joe next to him in his bed. Petunia preys to God to not take Little Joe home yet. In this scene, home is identified as the spiritual world, in which all the sins of the corrupt physical world would not exist. So in Petunias case, home is a pure spiritual world. In Little Joe's case, Earth is a testing ground to determine if a person should ascend to heaven or descend to hell. If a person lives a righteous life on Earth, then God will open the gates of heaven to that person. On the other hand, if a person lives a sinful life on Earth, the devil will open the gates of hell to that person. The moral of the film is that one must choose their path wisely while they live on the battleground between heaven and hell.
The film's title also has great significance. The title, Cabin in the Sky makes a huge statement saying that home is identified as heaven. A lack of home which is Earth, creates a void in which that void must be filled. If one can't obtain home physically, then one will obtain it spiritually. As in many of the scenes where Petunia preys to God prove that one will obtain home spiritually.
Overall, this film was excellent. It is a rare occasion to see pictures of a black heaven, in which many of the angels consisted of neatly dressed African American men in trimly white uniforms. Also, the gate keepers of heaven were young black angels, sitting valiantly on pedestals. The music by Ethel Waters and Duke Ellington with his band was phenomenal. I would recommend this movie to viewers who want to see how music and dance evolved from the old genre of 'race movies' to the new genre of 'race movies'.

Cabin in the Sky !!!!Fo Sho Baby!!!!!
Vincente Minnelli, who directed the film, Cabin in the Sky (1943), composed this 'race movie' with an all African American cast. What makes this film extraordinary is that Vincente Minnelli is a white director who filmed this picture with an all black cast. Around the early 1940's, mainstream production studios (Hollywood) noticed that these 'race movies' which consisted of African American directors/producers/casts, were producing huge sums of money. In an attempt to tap this newly discovered source of money, the mainstream film industry began to produce these race films which consisted of white directors/producers, but included an all African American cast. In Cabin in the Sky, Minnelli includes many social issues that black America faced during this time. A major issue that black America faced back in the 1940's and still today which Minnelli included in this film is obtaining identity/home.
An example of obtaining home can be explained by the scene where the character Little Joe (Eddie "Rochester" Anderson) dies and rises out of his body only to awake to the presence of Lucifer Jr. (Rex Ingram). As Lucifer Jr. describes to Little Joe all of the evil things that will come to him in Hell, Little Joe screams out, "I don't want to die, I just wanna' go back home to Petunia." In this scene, Little Joe identifies home as Earth, all the physical objects in which he can interact with (the absence of the spiritual world). Another example of home can be identified with the character Petunia (Ethel Waters) in the scene where she sits beside Little Joe next to him in his bed. Petunia preys to God to not take Little Joe home yet. In this scene, home is identified as the spiritual world, in which all the sins of the corrupt physical world would not exist. So in Petunias case, home is a pure spiritual world. In Little Joe's case, Earth is a testing ground to determine if a person should ascend to heaven or descend to hell. If a person lives a righteous life on Earth, then God will open the gates of heaven to that person. On the other hand, if a person lives a sinful life on Earth, the devil will open the gates of hell to that person. The moral of the film is that one must choose their path wisely while they live on the battleground between heaven and hell.
The film's title also has great significance. The title, Cabin in the Sky makes a huge statement saying that home is identified as heaven. A lack of home which is Earth, creates a void in which that void must be filled. If one can't obtain home physically, then one will obtain it spiritually. As in many of the scenes where Petunia preys to God prove that one will obtain home spiritually.
Overall, this film was excellent. It is a rare occasion to see pictures of a black heaven, in which many of the angels consisted of neatly dressed African American men in trimly white uniforms. Also, the gate keepers of heaven were young black angels, sitting valiantly on pedestals. The music by Ethel Waters and Duke Ellington with his band was phenomenal. I would recommend this movie to viewers who want to see how music and dance evolved from the old genre of 'race movies' to the new genre of 'race movies'.

Great music...
Great performances.Duke Ellington,Ethel Waters,Lena Horne.Doesn't get any better than that. ... Read more

Amazon.com essential video

Actress Kasi Lemmons made an auspicious debut as a writer and director with this delicately handled, wrenchingly emotional drama, hailed by critic Roger Ebert as one of the best films of 1997. Eve's Bayou begins with ominous narration: "The summer I killed my father, I was 10 years old." From that point the story moves backward in time and memory to Louisiana in 1962, when a young girl named Eve (Jurnee Smollett) witnesses a shocking act on the part of her womanizing father (Samuel L. Jackson). But what really happened? And can Eve be certain about what she saw when there is more than one interpretation of the facts? Less a mystery than a study of deeply rooted emotions rising to the surface to affect an entire family, the film has the quality of classic Southern literature, with layers of memory unfolding to reveal a carefully guarded truth. --Jeff Shannon ... Read more

Reviews (34)

Feel The Heat
Eve's Bayou is a spectacular movie. The color and scenery is wonderful and the people are elegant and troubled. Even the character's names stir up visions of dark swamp water and sultry heat. The story is told and seen through the eyes of little Eve Batiste played by a wonderful young actress named Jurnee Smollett. Eve takes us deep into her world which is filled with colorful characters and complex personalities.Diahann Carroll is fabulous as the old fortune teller Elzora with her insane laughter. Debbi Morgan as Aunt Mozelle Batiste Delacroix is something to behold. Aunt Mozelle has promised her family that she will not use her "second sight" to tell fortunes, but neighbors won't let her keep her promise. They seek her out to find missing husbands anyway. Lynn Whitfied as the manor born wife is beautiful and poised as she tries to keep her family together in spite of her wandering husband (Samuel L. Jackson). Jackson is very sexy in this movie and his character has roving eyes as well as roving hands that don't stop even when he is caught in a compromising position by his youngest daughter, Eve. This starts a set of events that lead to the total destruction of an already deeply troubled family.Although this movie did not make history at the box office my guess is that it will become a cult classic. Years from now this movie will be viewed for what it is, a brilliantly produced film. You can literally feel the Louisiana heat from Eve's Bayou. Vannie

A Poetic Accomplishment
This movie is moving and poetic in every sense of the word. From the acting right down to the musical score. I was astounded to learn this is a directorial debut.
Debbi Morgan is absolutely amazing in her role as the sister with the "gift of sight". She provides us with the most amazing scene in the film. In the scene, she is recalling a confrontation between her secret lover and husband. She recalls the events while looking through a mirror, and the scene is acted out as "reflections" in the mirror. This is one of the most powerful scenes I have witnessed. Now that I own the DVD, I can watch it over and over, it is that powerful.
My 2nd favorite performance is by Dianne Caroll, who plays the town voodoo witch.
The DVD has great commentary and an equally well produced short featurette.
The film is complimented by the musical score, which helps the story flow like velvet. I even bought the soundtrack for its amazing hypnotic quality.

Top 10
Eve's Bayou is one of my favorite movies starring one of my favorite young actresses, Jurnee Smollett. You may remember her from On Our Own, a sitcom with her siblings all apart of the cast. The acting is great and the whole movie is a lot different(including the setting) than the usual stuff that comes out. Samuel Jackson is the loving, but adulterous husband and Jurnee doesn't like it. When she decides he goes too far she does the unthinkable to protect her family.

Loved this movie!
Mystery, Magic, and Family what a wonderful base for a movie. I loved the setting, the characters, and the story. It left enough to the imagination to keep it believable. This movie is worth owning!

Eve's Bayou
This is one of the most beautifully written, directed, filmed & acted films of all time! Kasi Lemmons outdid herself with this smoldering family drama set in 1950's Creole Louisianna.

With a stellar cast including Sam Jackson, the incomparable Debbie Morgan, Lynn Whitfield, Diahann Carol, Megan Goode & Jurnee Smollet, this drama seethes with intensity broken by moments of levity. ... Read more

Reviews (3)

It captured a moment in time
Everything in this movie is a metaphor to encase its statement in an entertaining venue. People are singing in the full sanctuary of St. Peter's Episcopal Church while Park's barber shop is selling baths, shaves and hair cuts two blocks away. And a crowd seen only on Saturday afternoon populates the town square of Jefferson. The Oxford town square was dead on Sunday's and the church was empty on Saturday's.

But this is not Oxford. While "Intruder" may not have been part of the trilogy about Yoknapatawpah, there is a "Jefferson" banner on the wall of Claude Jarman, Jr.'s character's room along with those of "Tennessee" and "Vanderbilt". No "Ole Miss" banner, because Ole Miss did not exist in Yoknapatawpah County.

One must realize that Faulkner lived in the deep south and spoke out against the social system in the 1920's. Clarence Brown came to Faulkner's home town and made a movie with a powerful social statement in 1949. In both cases the statement had to be on two levels -- one a story that keeps the reader or viewer's attention, and the other a deep insight into how the human mind works.

The extras in the movie didn't worry about the social statement: they were just having fun. But today I cannot believe that the movie was even released, much less premiered in Oxford, given that the Civil War was only 85 years gone and reconstruction was still deeply engraved in the memory of many people.

Having said all that, I hope the reader of this review understands that I am recommending this movie for more than its entertainment value. I must recuse myself from judging the art and entertainment content because my father was the location consultant and one of the extras with a speaking part. Some of my 9-year-old friends were in it, I saw them film much of it, and I know where just about every scene was made.

I am probably better qualified to provide trivia than a review. You probably wouldn't have known that the ice is really parrafin or that the quicksand is really oatmeal. I wouldn't have noticed either, until my father told me. Yoknapatawpah may have had ice and quicksand, but I never saw either in the county where I lived. The flat tire on the Sheriff's car kept coming off the rim so they had to reshoot many times. Today they would have just added sparks where the rim hit the pavement.

If the country store used for the interior shots is not a famous restaurant today, it certainly looks like the one people come from all over the country to visit, completely unremodeled to this day.

But whereas in 1949 I just saw a bunch of people milling around, today I see at one level my home town caught and preserved before all the buidings were rennovated. At another level I see the camera work -- the framing, the zooming, the closeups, the perspective, the black and white imagery. And I understand the story better, too.

Find this movie, see it with someone intelligent, and discuss it.

Intruder in the Dust
The movie "Intruder in the Dust" takes some liberties in changing the details, but the storyline remains consistent with the book. Faulkner (and the movie) included some over-the-top social-statement lines -- an unheard of thing for the times, but effective. Movie is very good on several levels.

Can justice be served or will there be a lynching?
Based on a novel by William Faulkner, and filmed in 1949 in black and white, this is the story of an African American man wrongly accused of murder in a small Southern town. Actually filmed in Oxford, Mississippi, Faulkner's hometown, and using local residents as extras, there's a ring of authenticity about it.

There's tension throughout, from the very beginning when the dignified Lucas Beauchamp, played by Juano Hernandez is arrested for supposedly shooting a white man in the back. There's a huge crowd of white people lining the streets but there is absolute silence as the thud of Beauchamp's footsteps echo as he is led to the jail. A young white teenage boy, played by Claude Jamen, Jr., who had been befriended by the dignified Beauchamp several years before, convinces his uncle, played by David Brian, to help save Beauchamp from the inevitable lynching.

I thought the story was a good one as it kept me glued to the screen, not even walking away when my computer signaled that fresh e-mail had arrived. But yet, with the exception of Porter Hall who played the one-armed father of the murdered man and Elizabeth Patterson, cast as the feisty elderly lady who instigated the investigation and single handedly delayed the potential lynching, the performances of the leading characters seemed wooden. This is a basically a good film though and it deals with some important themes. Yes, it could have been done better, but I still think it's worthwhile seeing. And so I give it a warm recommendation. ... Read more

Reviews (15)

Queen of the Explotation Flicks?
FOXY BROWN is a great movie, but not a great explotation movie. Oddly enough this is the film that got Pam Gier the title "QUEEN OF THE EXPLOTATION FLICKS". When I first sat down to watch this film I was expecting to see tons of gratuitous nudity and violence. The nudity in this film was seldom and the violence was not very graphic. Don't get me wrong, I loved this film and it really is a classic 70's film, but don't go in expecting the normal 70's gratuity. The story is about a woman that becomes a vigilante in order to get revenge for the death of her boyfriend. The plot thickens when other elements are thrown into play like a drug addict younger brother, an underground militant army, and a mother forced into prostitution. If you like this film, but you also really like gratuitous nudity and violence; I would highly recommend watching COFFY. Pam Grier is the star of that movie also, but the storyline is a little more loose and there is nudity all over the place (including Grier).

Virtually Re-make of "Coffy" With More Violance
"Foxy Brown" is practically a retread of "Coffy." After the murder of her boyfriend, Foxy Brown (Pam) swears revenge against those who are responsible. Posing as a call girl (again), she carries on her own deadly mission with a help from the Black Panther-like group.

Several changes can be found in "Foxy Brown" to increase the degree of violence, and some of the scenes are very painful to watch (particularly when Brown is imprisoned in a shack), so I do not recommend this film to the beginners of the genre.

In spite of the faults, however, some things redeem them to some extent. Willie Hutch's soundtrack, especially the title song of the film, is still pretty good, and the amusing opening credit with some 007 touch is still unique and interesting. (See how Pam Grier dances to the sound.) And one of the most outrageous ways of concealing a handgun is revealed at the climax of the film. Pam Grier hides a gun in her Afro she is wearing! and in the fashion Bruce Willis did in "Die Hard"!! Has he also seen that?

Foxy Brown Rocks!
This is a great 70's movie! Pam Grier looks beautiful and plays this tough girl part perfect. I love the music and Intro to this film along with the cool clothes! This is a fun movie to watch lots of laughs. I loved it when Foxy pulled the gun out of her Afro, she is too cool! She is like Charlies Angels and Police Woman, Girl Power!

beyond horrendous
I only give this movie one star because I have to. How about no stars, or even minus 5 stars? That would be more accurate. Starts out with some good action and humor, then evolves into a festering pile of garbage that everyone involved should be ashamed of. Frankly, I can't recommend this movie.

Grier is outstanding in this crime thriller
"That's my sister, baby--and she's a whole lotta woman!" That's how one character sums up the title character in "Foxy Brown," a crime thriller written and directed by Jack Hill. Pam Grier plays the title character, whom the title song promises is "super bad."

Foxy is a hip, tough urban African-American woman who eventually takes on an evil white madam and her crime organization. There is a strong anti-drug mesage, with illegal drugs being depicted as a new form of enslavement in the black community. Although the film is occasionally campy, it nevertheless is very effective as a crime drama.

"Foxy" has a gritty, low budget feel. There is a lot of graphic violence, and some outrageous humor. The film is full of great quotable lines, like "You just take care of the justice, and I'll handle the revenge myself." Although the star gets solid support from the rest of the cast, "Foxy" is undeniably Grier's film. She wears Foxy's outrageous outfits and hairdos with flair. She's a powerful but sympathetic screen presence. And when she gets angry, watch out! ... Read more

Description

Set in the 1960’s, NOTHING BUT A MAN is an uplifting love story about a man and a woman whose bond overcomes racial and class barriers.Duff, a railroad section hand is forced to confront prejudice and self-denial when he falls in love with Josie, an educated preacher’s daughter.

NOTHING BUT A MAN stars Ivan Dixon (Porgy and Bess, Car Wash, and A Raisin in the Sun) and jazz great Abbey Lincoln in performances Siskel & Ebert called "terrific."The original soundtrack features Motown stars Stevie Wonder, Mary Wells, Martha and the Vandellas, The Miracles, and The Marvelettes.

Acclaimed by critics and revered by film buffs, NOTHING BUT A MAN was theatrically re-released to rave reviews in 1993.This ground-breaking American classic is available for the first time on video to celebrate its 30th anniversary. ... Read more

Reviews (3)

Revelatory
A film that deserves far more exposure than it has apparently received thus far. There is drama to be found in everyday lives. NBAM is set in a time and place when black survival was so tenuous that its pursuit necessarily involved drama. There is plenty of dramatic conflict in the main character's struggle to find a way to live with himself and those around him. Other conflicts include decisions about romance, parents, children, religion and work. The acting and direction are uniformly topnotch. Abby Lincoln radiantly and subtly portrays faith and dignity. Because so many films about racist and other tragedies use a hammer to drive home messages of injustice, NBAM refreshes. While the narrative is clear, viewers are credited with the ability to connect dots. These are qualities too rarely found in contemporary cinema, although they are richly apparent in the work of directors including Marcel Pagnol, Sagyajit Ray (Sp? - anyway, director of the World of Apu, etc.), John Huston, Jean Vigo, Werner Herzog (in a few of his films), Fassbinder... NBAM provides less of an escape than some of the work just referenced. But its realistic style and well-drawn characterizations made me hungry for at least a sequel. Sidebar: That the story takes place when music like "Heatwave" was popular just provides ironic contrast and a window, for non-black viewers, into the disparity between ebulliant soul hits and early-'60s African American living.

The Raging Bull of the 1960s; a really poetic, amazing film
Here's an American neo-realist masterwork that captures the temper of black consciousness in the south just prior to the mass upheavals of the early '60s.

Long before Scorsese made "Mean Streets" and "Raging Bull," Michael Roemer had made this great film. No other film dramatizes so profoundly the plight of a man whose basic human pride will not be compromised under any circumstances.

Ivan Dixon as Duff gives one of the greatest performances in the history of cinema and Abbey Lincoln as Josie, the preacher's daughter he tries to settle down with, is just about perfect in control of nuance. These characters are extraordinary "ordinary" people, truly heroic; yet the tragedy that stalks them may or may not be hopeless at this time in history, due to an apparent shift in black consciousness, a general "fed-up-with-it-all" attitude that needs men like Duff to inspire itself.

The entire cast is uniformly excellent and there are too many brilliant scenes to mention here. The film seems cut directly from the fabric of real life in a semi-documentary Rossellini-like style. "Little Fugitive" and "Medium Cool" are the only other pre-70s American films I've seen that feel this real and authentic.

In terms of the subtlety with which racial politics and power relations are exposed through simple gestures and concrete acts rather than rhetoric and melodrama, Martin Ritt's "Sounder" and Paul Schrader's "Blue Collar" are the only films I've seen that come close. Charles Burnett's low-budget independent masterpiece "Killer of Sheep," also comes to mind.

There are a lot of lessons to be learned here, especially by directors like Spike Lee, who I'm sure has seen this movie, and who has made decent films in the past (Do the Right Thing, She's gotta have it), but now wastes his time making laughable, "really hardcore," "I want to transcend puny barriers with overloads of style" cartoons like "Summer of Sam." "Nothing but a Man" is light years away from the two-dimensional nonsense they call "realism" these days. Over and out

Powerful Intelligent Drama About Being Black In America
A riveting small little film that packs a punch. A drama about a black man in the South trying to survive and become self aware. It is sensitively filmed and all of the performances are great. It is a shame that it is not more widely known for it has a lesson in it for everyone. One critism though, it lacks humor, and in life survival can not occur without it. ... Read more