#28DaysofBlack Review: "I'M GONNA GIT YOU SUCKA" is Still Crazy Funny

[What can I say?  I'm Gonna Git You Sucka remains one of the funniest films that I have ever seen.  And I wish Keenen Ivory Wayans and his regulars were still giving us a regular serving of great African-American comedy … great American comedy.]

TRASH IN MY EYE No. 17 of 2021 (No. 1755) by Leroy Douresseaux

I'm Gonna Git You Sucka (1988)
Running time:  88 minutes
MPAA – R
WRITER/DIRECTOR:  Keenen Ivory Wayans
PRODUCERS:  Carl Craig and Peter McCarthy
CINEMATOGRAPHER:  Tom Richmond
EDITOR:  Michael R. Miller   
COMPOSER:  David Michael Frank

COMEDY/ACTION

Starring:  Keenen Ivory Wayans, Bernie Casey, Ja'net Dubois, Isaac Hayes, Jim Brown, Antonio Fargas, Steve James, John Vernon, Dawnn Lewis, Kadeem Hardison, Damon Wayans, Clarence Williams III, Anne-Marie Johnson, Kim Wayans, Eve Plumb, Hawthorne James, David Alan Grier, Clu Gulager, and Chris Rock

I'm Gonna Git You Sucka is a 1988 comedy film written and directed by Keenen Ivory Wayans.  The film is a blaxploitation film (Black exploitation film) and also a parody of the blaxploitation films of the 1970s.  I'm Gonna Git You Sucka focuses on a Black wannabe hero who joins a former Black hero on a mission to stop a crime lord who is plaguing the Black community with vice.

I'm Gonna Git You Sucka introduces Jack Spade (Keenen Ivory Wayans), a soldier who returns home (“Any Ghetto, U.S.A.”) after ten years away.  He has learned that his brother, Junebug Spade, has died of "OG" – overdosing on gold chains (wearing too many gold chains).  Jack looks around his old neighborhood and sees the effect of gold chains on his community.  Jack wants revenge for his brother's death, but he also wants to stop the proliferation of gold chains in his community.  That means he has to stop “Mr. Big” (John Vernon), who rules the crime world and is responsible for the epidemic of gold chains that claimed Junebug's life.

Jack and Junebug's mother, Bell Spade (Ja'net Dubois), does not want her only remaining son engaging in something that could get him killed.  Junebug's widow, Cheryl Spade (Dawnn Lewis), who once loved Jack, does not want him killed now that he is back in her life.  Still, Jack is determined to be a Black hero, so he seeks the help of the retired hero, John Slade (Bernie Casey), once the community's biggest Black hero.  While Slade is initially wary, he eventually brings in other classic Black heroes from the past:  Hammer (Isaac Hayes), Slammer (Jim Brown), and Kung Fu Joe (Steve James), and also a once prominent pimp, Flyguy (Antonio Fargas), in on the mission.  But can this group really come together and “take it to the man?”

I saw I'm Gonna Git You Sucka in early 1989 in a movie theater at the Bon Marche Mall in Baton Rouge, Louisiana with a group of friends.  We laughed until we cried.  Although I did see parts of it again over the next few years, I have not watched I'm Gonna Git You Sucka in its entirety since that first time.  As a parody of a film genre, I'm Gonna Git You Sucka is more like the films of the former team, Zucker, Abrahams and Zucker (Airplane!, The Naked Gun series), than it is like the work of Mel Brooks (Young Frankenstein, Blazing Saddles).

Keenen Ivory Wayan's talents as a writer are underrated.  What I'm Gonna Git You Sucka and his later hit, Scary Movie (2000), reveal is that Wayans can pile on sight gags, comic references, riffs, funny sounds, replications of famous film moments into a movie, but none of that stops the movie cold.  Almost all of it fits seamlessly into the narrative, so the movie works as whatever genre it is parodying, and is not just a series of gags pretending to be a film narrative.  I'm Gonna Git You Sucka is not just a parody of blaxploitation films; it is a blaxploitation comedy film.  In fact, I'm Gonna Git You Sucka is also a loving send-up of blaxploitation films.  There is never a moment when it seems that Wayans holds the genre in disdain.

It would take an incredibly long essay to talk about all the wonderful things in I'm Gonna Git You Sucka, so I'll point out a few.  I was happy to see actor Clarence Williams III as the aging revolutionary, Kalinga, show his comic talents.  I also enjoyed Ja'net Dubois' sense of humor and comic timing.  Kim Wayans, Keenen's sister, is always a welcomed sight, here giving her all as a wacky nightclub singer.  Of course, the distinguished Bernie Casey, with that wonderful voice and the way he carries himself, gives any movie in which he appears some credibility that it would have lacked without him.  He should have been a major movie star … alas …

Since Keenen Ivory Wayans co-wrote Hollywood Shuffle, it was often connected to I'm Gonna Git You Sucka.  However, each film had a different purpose, and I'm Gonna Git You Sucka revealed how quickly Wayans arrived as a major Hollywood comedy talent.  I hope new generations of movie audiences discover this thoroughly underrated cinematic comedy gem.

A+
9 out of 10

Wednesday, February 17, 2021


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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#28DaysofBlack Review: "HOLLYWOOD SHUFFLE" Still Has Something to Say

[Upon its release, Hollywood Shuffle felt like something that needed to be said.  It was time to say enough to the way Black people were portrayed in Hollywood film and television productions.  And yes, maybe some Black actors should have said no to stereotypical roles, as long as they didn't have bills to pay …]

TRASH IN MY EYE No. 16 of 2021 (No. 1754) by Leroy Douresseaux

Hollywood Shuffle (1987)
Running time:  81 minutes (1hour, 21 minutes)
MPAA – R
PRODUCER/DIRECTOR:  Robert Townsend
WRITERS:  Robert Townsend and Keenen Ivory Wayans
CINEMATOGRAPHER:  Peter Deming
EDITOR:  W.O. Garrett
COMPOSERS:  Udi Harpaz and Patrice Rushen

COMEDY

Starring:  Robert Townsend, Anne-Marie Johnson, Craigus R. Johnson, Helen Martin, Starletta DuPois, David McKnight, Keenen Ivory Wayans, Lou B. Washington, John Witherspoon, Eugene Robert Glazer, Lisa Mende, Dom Irrera, Brad Sanders, Conni Marie Brazelton, Sena Ayn Black, Jesse Aragon, Verda Bridges, Grand L. Bush, and Damon Wayans

Hollywood Shuffle is a 1987 American satirical comedy film from producer-director Robert Townsend.  The film focuses on the trials and tribulations of a Black actor limited to stereotypical roles who dreams of making it as a highly respected actor.

Hollywood Shuffle introduces Robert “Bobby” Taylor (Robert Townsend), a young black man aspiring to become an actor.  Bobby has been preparing for his audition for the lead role in Tinsel Town Pictures' new urban drama.  Entitled “Jivetime Jimmy's Revenge,” this movie about street gangs is full of stereotypes about African-Americans and Latinos.

Bobby's grandmother (Helen Martin) overhears the “jive talk” Bobby uses to practice his lines, and she vociferously expresses her disapproval, while Bobby's mother (Starletta DuPois) is more supportive.  Bobby wants to be a great actor so that he won't have to work at places like his current place of employment, “Winky Dinky Dog.”  Bobby's grandmother says that if he desires a respectable job, there is honest work at the post office.  Bobby believes that if he lands the role of Jimmy in Jivetime Jimmy's Revenge, everything will get better for his career and for his family.  But is that true?  As Bobby works towards his dream, the film also takes a satiric look at African-American actors in Hollywood and at Hollywood in general.

As far as I can tell, it has been over twenty years since I last saw Hollywood Shuffle.  Seeing it after such a long time, I find that it has actually aged well.  African-American actors have made great strides in the American film and television industry since Hollywood Shuffle's first release.  However, in some ways, African-American actors, indeed actors of color and non-white actors, continues to deal with stereotypes about who they are, what roles they should play, and in what kind of films and TV in which they should appear.

There are notions about the limited box office potential of films featuring African-American and non-white actors, especially when they have lead or major roles in films.  Because of that, Hollywood Shuffle's satire remains sharp, if for no other reason than that there are still Bobby Taylors and Bobbi Taylors dealing with casting directors that have concrete, incorrect ideas about the physicality of Black people and performers.

Meanwhile, Hollywood Shuffle is more than a satirical comedy about Hollywood.  It is also a comedy that is both a send-up of and tribute to Hollywood's most familiar genres.  Writers Robert Townsend, Keenen Ivory Wayans, and comedian Dom Irrera (who did not receive a screen credit as a writer) fashion numerous skits and sketches that fit well with the main story line, Bobby Taylor's quest.  “Sneaking into the Movies,” a send-up of the late film critics, Gene Siskel and Roger Ebert, is unforgettable and much-copied.  Sam Ace and “The Death of a Breakdancer,” a spoof of the detective movies of Hollywood's Golden Era, surprisingly works much better than one might think.  Having a villain like “Jerry Curl” (Keenen Ivory Wayans), with his curl activator addiction, helps.  “Black Acting School” is satire so savage that it is almost strident … almost.  And “ho cakes” is worth remembering.

I am still amazed at how much Townsend and his cast and crew got out of a one-hundred thousand dollar budget.  An exercise in guerrilla filmmaking, Hollywood Shuffle remains one of the top indie comedies and African-American films of the 1980s, showing that imagination, inventiveness, and working together for a common cause can overcome budget constraints … for the most part.

Yes, things are “better than they were.”  As long as white supremacy and white privilege reign in the United States, Hollywood Shuffle will always be relevant and also funny.

A-
7 out of 10

Tuesday, February 16, 2021


NOTES:
1987  Image Awards:  2 nominations:  “Outstanding Actress in a Motion Picture” (Helen Martin) and “Outstanding Actor in a Motion Picture” (Robert Townsend)


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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#28DaysofBlack Review: Heroes Abound in "MARSHALL"

[The year after he first played Marvel Comics superhero, Black Panther, the late Chadwick Boseman played real-life hero, Supreme Court Justice Thurgood Marshall, early in his career when he was a defense attorney defending oppressed African-Americans.  There is something about playing both Thurgood Marshall and the Black Panther that makes an actor special.  That is why some of us both mourn Boseman's passing and celebrate his work.]

TRASH IN MY EYE No. 15 of 2021 (No. 1753) by Leroy Douresseaux

Marshall (2017)
Running time: 118 minutes (1 hours, 58 minutes)
MPAA – PG-13 for mature thematic content, sexuality, violence and some strong language
DIRECTOR:  Reginald Hudlin
WRITERS:  Michael Koskoff and Jacob Koskoff
PRODUCERS:  Reginald Hudlin, Jonathan Sanger, and Paula Wagner
CINEMATOGRAPHER:  Newton Thomas Sigel (D.o.P.)
EDITOR:  Tom McArdle
COMPOSER:  Marcus Miller
Academy Award nominee

BIOPIC/DRAMA/HISTORICAL/THRILLER

Starring:  Chadwick Boseman, Josh Gad, Kate Hudson, Dan Stevens, James Cromwell, Sterling K. Brown, Keesha Sharp, John Magaro, Roger Guenveur Smith, Ahna O'Reilly, Jeremy Bobb, Derrick Baskin, Jeffrey DeMunn, Andra Day, Sophia Bush, Jussie Smollett, and Rozonda “Chilli” Thomas

Marshall is a 2017 biographical film, period drama, and legal thriller directed by Reginald Hudlin.  The film's lead character is Thurgood Marshall (1908 to 1993), the first African-American to serve on the Supreme Court of the United States.  Marshall the film focuses on one of the first cases of his career, the State of Connecticut v. Joseph Spell, which concerns an African-American chauffeur accused of raping a white woman in 1940.

Marshall opens in 1941.  Thurgood Marshall (Chadwick Boseman) is an attorney for the “NAACP Legal Defense and Educational Fund,” which he founded.  Marshall travels the country defending people who are accused of crimes solely because of their race.  Upon his return to his New York office, Marshall finds more work waiting for him.  Walter Francis White (Roger Guenveur Smith), Executive Secretary of the NAACP, sends Marshall to Bridgeport, Connecticut.  There, he will defend Joseph Spell (Sterling K. Brown), a chauffeur accused of rape by his white employer, Eleanor Strubing (Kate Hudson), in a case that has gripped the newspapers.

In Bridgeport, insurance lawyer, Sam Friedman (Josh Gad), is assigned by his brother, Irwin Friedman (John Magaro), to get Marshall admitted to the local bar, against Sam's will.  At the hearing for Spell, Judge Carl Foster (James Cromwell), a friend of the father of prosecutor Lorin Willis (Dan Stevens), agrees to admit Marshall, but forbids Marshall from speaking during the trial, forcing Friedman to be Spell's lead counsel.  Now, Marshall must guide Friedman through the trial via notes, but is this case a lost cause when Thurgood and Sam discover that it is rife with lies – on both sides.

Marshall is technically a biographical film, focusing on a specific period in the life and career of future Supreme Court justice, Thurgood Marshall.  Early in the film, however, it is obvious that director Reginald Hudlin has his mind on making Marshall a film that resembles a 1940s film noir with elements of a legal drama and a crime thriller.  The audience can hear that in Marcus Miller's lovely film score and in the way Hudlin stages the action, uses space, and places the actors.

In one of the film's early moments, when Marshall has his back to the camera and is ironing a shirt, I immediately thought of my favorite actor, Humphrey Bogart, and one of his most famous roles, that of Sam Space in director John Huston's The Maltese Falcon (1941).  From that point, there is hardly a setting in which Marshall's life does not seem to be in danger.  Hudlin races his audience through a movie that seems to be shorter than its almost two hours of run time.  Is Marshall a courtroom drama?  Yes, and it is also a courtroom thriller with a mystery at its center.

I do wish the father-son screenwriting team of Michael Koskoff and Jacob Koskoff had given the script  more depth, as the narrative is mostly style and genre.  There is also a lack of depth in the  characterization, and the characters are a bit shallow.  As hard as actor Sterling K. Brown tries, he can't seem to really draw anything from the well of defendant Joseph Spell's soul.  Spell comes across as more of a stand-in than an actual portrait of a man whose life is on the line.

The very talented Josh Gad is able to give a lot of color to Sam Friedman, playing as a subtly wily man who is able to navigate his way between conflicting sides.  Kate Hudson, mostly known for romantic comedies, shows some serious dramatic chops as the trapped suburban wife and alleged victim, Eleanor Strubing.  As usual, Roger Guenveur Smith is spry, this time as the real-life Walter Francis Wright.

Of course, in the wake of his 2020 death to complications of colon cancer, Chadwick Boseman as Thurgood Marshall will be the center of attention in the film, Marshall, going forward.  Despite a lack of characterization in the film's script, Boseman turns Marshall into a relentless paladin, traveling the countryside fighting the forces of white bigotry and racism.  His field of battle is the courtroom, and black men falsely accused because they are black are the people he defends.  Boseman makes me believe that he is a stubborn attorney and hero in an old-fashioned courtroom drama.  He also makes me believe that he is a superhero, almost a year before he became the beloved Black Panther of Disney/Marvel Studios' Oscar-winning film, Black Panther.

Marshall convinces me that Thurgood Marshall was both a heroic lawyer and a superhero.  The film also convinces me that Boseman was the best at bringing the most famous African-American men to life on the big screen.  Plus, Marshall is a really good movie.

8 of 10
A

Monday, February 15, 2021


NOTES:
2018 Academy Awards, USA:  1 nomination: “Best Achievement in Music Written for Motion Pictures-Original Song” (Common and Diane Warren for song “Stand Up for Something”)

2018 Black Reel Awards:  7 nominations: “Outstanding Motion Picture” (Jonathan Sanger, Paula Wagner, and Reginald Hudlin), “Outstanding Actor, Motion Picture” (Chadwick Boseman), “Outstanding Director, Motion Picture” (Reginald Hudlin), “Outstanding Ensemble” (Victoria Thomas-Casting Director), “Outstanding Score” (Marcus Miller-Composer), “Outstanding Original Song” (Andra Day-Performer, Common-Performer, Writer, and Diane Warren-Writer for the song “Stand Up for Something”), and “Outstanding Breakthrough Performance, Male” (Sterling K. Brown)

2018 Image Awards (NAACP):  5 nominations: “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (Chadwick Boseman), “Outstanding Supporting Actor in a Motion Picture” (Sterling K. Brown), “Outstanding Supporting Actress in a Motion Picture” (Keesha Sharp), “and  “Outstanding Directing in a Motion Picture” (Reginald Hudlin)

The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

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#28DaysofBlack Review: GET ON UP

[The late Chadwick Boseman portrayed four African-American historical figures, three of them as the lead actor.  His performance as James Brown in “Get on Up” is an example of why so many are devastated by his passing and also by the loss of what could have been.]

TRASH IN MY EYE No. 14 of 2021 (No. 1752) by Leroy Douresseaux

Get on Up (2014)
Running time:  139 minutes (2 hours, 19 minutes)
MPAA – PG-13 for sexual content, drug use, some strong language, and violent situations
DIRECTOR:  Tate Taylor
WRITERS:  Jez Butterworth & John-Henry Butterworth; from a story by Steven Baigelman and Jez Butterworth & John-Henry Butterworth
PRODUCERS:  Brian Grazer, Erica Huggins, Mick Jagger, Victoria Pearman, and Tate Taylor
CINEMATOGRAPHER:  Stephen Goldblatt
EDITOR:  Michael McCusker
COMPOSER:  Thomas Newman

BIOPIC/MUSIC/DRAMA

Starring:  Chadwick Boseman, Nelsan Ellis, Dan Aykroyd, Jamarion and Jordan Scott, Viola Davis, Lennie James, Fred Melamed, Jamal Batiste, Craig Robinson, Jill Scott, Octavia Spencer, Josh Hopkins, Brandon Mychal Smith, Tika Sumpter, Aunjanue Ellis, Tariq Trotter as Pee Wee Ellis, John Benjamin Hickey, and Allison Janney

Get on Up is a 2014 biographical film and musical drama directed by Tate Taylor.  The film is a fictional depiction of the life of singer, songwriter, recording artist, and concert performer, James Brown (1933-2006).  Get on Up chronicles the rise from extreme poverty of one of the most influential musical performers in history.

Get on Up opens in Augusta, Georgia, the year 1988.  James Brown (Chadwick Boseman), one of the world's most famous recording artists and performers, gets high on mix of marijuana and PCP.   He visits one of his businesses and discovers that someone from a nearby seminar has used his private restroom.  Furious, Brown confronts the seminar attendees while carrying a shotgun, which he accidentally fires into the ceiling.

The film then uses a nonlinear narrative, following James Brown's stream of consciousness, as he recalls events from his life.  We meet young James Brown (Jamarion and Jordan Scott), living in poverty with his mother, Susie Brown (Viola Davis), and abusive father, Joseph “Joe” Brown (Lennie James).  Eventually abandoned by both his parents, young James lives in a brothel run by his Aunt Honey Washington (Octavia Spencer).

Later, James joins “The Flames,” a gospel singing group fronted by his new friend, Bobby Byrd (Nelsan Ellis).  Soon, they become “The Famous Flames” and sing R&B songs, but within a decade James Brown is ready to go solo.  It would not be the last time James is willing to go it alone on the way to becoming one of the most influential singer, songwriters, musicians, producers, dancers, bandleaders, and recording artists of all time.

Director Tate Taylor and screenwriters Jez Butterworth & John-Henry Butterworth have fashioned of a story that looks at two sides of James Brown:  his musical talent and performances and his personal and professional relationships.  This allows Get on Up to give audiences what they want – lots of James Brown on stage – and to also tell a behind-the-music-like story of a complicated man.

Get on Up takes its title from a chorus in James Brown's 1970 hit, “Get Up (I Feel Like Being a) Sex Machine.”  Brown does indeed “get on up” every time he experiences something personally or professionally that could have brought him down and kept him down.  The thing that I can respect about this film is that it does not only portray Brown as someone who overcomes, but also portrays him as someone who does not appreciate that he was never alone in creating his success.  Late in the film, Brown breaks the fourth wall (one of many times he does this) to tell the audience that he “paid the cost to be the boss.”  However, he did not pay the cost alone, to which wives, girlfriends, lovers, children, band mates, and employees can certainly testify.

Through the impressive work of Get on Up's film editor, Michael McCusker. Tate Taylor jumps around time to show the many faces of this artist who was, in a way, a chameleon as a performer.  We see moments from the years:  1939, 1949, 1955, 1962, 1964, 1965, 1968, 1971, 1988, and 1993.  This time-shifting of the film's narrative also reveals the many dark times of Brown's life.

Everyone's work would not mean much without a great performer giving a great performance as James Brown, and Chadwick Boseman certainly does that.  Boseman fashions a James Brown that is perfect for the story that Get on Up tells, creating a Brown that is an inspired genius and a dictatorial general.  Boseman nearly buries himself in the role, and I often found myself forgetting that Get on Up is not a documentary and that the James Brown on screen was a portrait not the real man.  However, Boseman's dynamic performance gives us both sides, the public persona known as James Brown, the musical revolution, and the private James Brown, unyielding to family, friends, collaborators, and partners and beset by demons.

There are other good performances.  Viola Davis packs her own power into every scene in which she appears as Brown's mother, and Octavia Spencer's displays the naturalism of her acting that charms her audiences as well as her fellow thespians.  Nelson Ellis offers a rich and layered performance as Brown's longtime collaborator, Bobby Byrd, and twins Jamarion and Jordan Scott damn near steal Get on Up with their performances as young James Brown.

Because of Chadwick Boseman's tragic passing in 2020, Get on Up will largely be remembered for his performance.  That's a shame because Get on Up is a really good film and is one of the best contemporary biographies of an African-American figure and of an icon figure in popular music in recent memory.  So, I'll take both.  Get on Up captures the music and the madness of James Brown, and the film captures a truly great performance by an actor who was becoming great and greater still before he died.

9 of 10
A+

Monday, February 15, 2021


NOTES:
2015 Black Reel Awards:  3 nominations: “Outstanding Actor, Motion Picture” (Chadwick Boseman), :Outstanding Supporting Actor, Motion Picture” (Nelsan Ellis), and “Outstanding Ensemble” (Kerry Barden and Paul Schnee)

2015 Image Awards (NAACP):  5 nomination: “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (Chadwick Boseman), “Outstanding Supporting Actress in a Motion Picture” (Jill Scott), “Outstanding Supporting Actress in a Motion Picture” (Octavia Spencer), and “Outstanding Supporting Actress in a Motion Picture” (Viola Davis)

The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

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