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Talent Resume: Church plays and sketchesSpeech: Forensics, Mrs. Linda Pauley, Bellevue West High Speech & Debate: Forensics, Mr. Marty Birkholt, Creighton UniversityActing |
"Shaft" followed soon after, heralding a wave of Hollywood-backed flicks with street-tough black leads "I could have called it `The Ballad of the Indomitable Sweetback I got to do a movie about a cat that I love, while he's still there to see it "Sweetback" caught fire with black audiences, eventually grossing $15 million and becoming one of the most profitable independent films in U "So I said `Ba-ad Asssss,' like you really say it The film is based on Melvin's book about the making of "Sweetback He begged, borrowed and ultimately used his own money to make "Sweetback," in which Melvin casts himself as an urban sex stud on the lam after retaliating against racist cops who are beating a black man S " Studio bosses were calling him "Mel, baby" and talking up three-picture deals " Melvin is portrayed as obsessed and exhausted during the 19-day shoot, a fiercely self-absorbed artist who leaves his crew stewing in jail for the weekend rather than jeopardize his movie The action closes with a touching father-son scene, with Mario as his dad and the actor playing young Mario sharing a theater seat, watching "Sweetback" in a crowded cinema theaters that initially agreed to show the movie Mario opens "Foot" with the crossroads Melvin came to after "Watermelon Man " What if, Melvin wonders, he made a movie about a street brother, a black hustler turned revolutionary against the man? "Another comedy?" young Mario asks In 1970, Melvin became the toast of Hollywood for his satiric comedy "Watermelon Man," about a white bigot who wakes up one day to find he's turned black S history " But they did put black performers and crew members to work, and the legacy of "Sweetback" finally began paying off with the arrival of such black filmmakers as Spike Lee, John Singleton and the Hudlin brothers in the 1980s and 1990s, he said They spoke at the Toronto International Film Festival, where the movie premiered and Mario shopped it to potential distributors Melvin misspelled "Bad Ass" because it allowed him to get the film's name into advertisements in some newspapers, and because it fit the movie's tone "I'm in the business I love Singleton appears in "Foot," along with Melvin's filmmaking contemporary, Ossie Davis, who plays Melvin's father Story of 'Sweetback' Premiers in Toronto Sep 9, 2:38 PM EST Mario Van Peebles has just walked a mile in his father's shoes â€â€? no easy road to take when Dad's the godfather of black cinema and the unwitting sire of 1970s "blaxploitation" flicks, all rolled into one cigar-chomping package "Hollywood liked to see us clowning, but America wasn't in a laughing mood," Melvin's character says in the film's voice-overs Melvin Van Peebles was disheartened by the "blaxploitation" wave, saying those movies scrapped the revolutionary spirit of the black-power movement in favor of stereotypical fare meant to cash in on the success of "Sweetback But Melvin's dead serious, and he took on a story that Hollywood ran screaming from " Melvin said his son's film is an accurate dramatization of the story behind "Sweetback," including the real gun that got slipped into a prop drawer of phony weapons and a cash infusion from Bill Cosby to finish the film "I wouldn't do that with my kids, but I'll do other stuff to them that they won't like," said Mario, who was embarrassed by the scene but grateful the movie had an X rating, so his friends couldn't see it An unlit cigar perpetually clenched in his teeth, Melvin cruises Hollywood on a mean motorcycle, riding out to the desert with son Mario to ponder his options " Melvin used the X rating as a marketing gimmick, printing T-shirts that read, "Rated X by an All White Jury" to advertise "Sweetback" at the only two U The younger Van Peebles co-wrote, directed, produced and starred in "How to Get the Man's Foot Outta Your Asss!" He plays his father, Melvin Van Peebles, in a raucous account of how his dad made the revolutionary 1971 black-power film "Sweet Sweetback's Baad Asssss Song What you do, and who you do it with,'" Mario said The title alone was revolutionary Melvin Van Peebles insisted on a realistic rendering " At times a loving portrait, "Foot" more often depicts a tyrannical artist who did not hesitate to put his work ahead of friends and family â€â€? including son Mario, then 13 He also traumatizes 13-year-old Mario by having him act in a flashback sex scene to show how the character Sweetback lost his virginity "Melvin said to me once, `There's two loves in your life What a kick "One thing he told me was, `Don't make me too nice,'" Mario, 46, said in an interview with The Associated Press alongside his 71-year-old father ' But I wanted the core audience, the target audience, to know it's for them," Melvin said "Especially black America The musical numbers unfold almost exclusively in Roxie's mind, a conceit that allows for some inspired intercutting between a pristine soundstage recreation of 1929 Chicago and an always morphing bare stage where the characters belt out tunes and strut their stuff NC-17 â€â€? No one under 17 admitted With Marshall's crisp, propulsive editing rhythm, the choreography hardly stands a chance And John C Flynn is all surface, and his climactic performance in the courtroom, intercut with footage of Gere tap-dancing, brings self-satisfaction to dizzying new heights Three stars out of four Otherwise, they're terrific: Zellweger expertly mixes her signature chirpy daftness with a tough, quick-witted cynicism; and Zeta-Jones, her considerable charisma put to proper use for once, rivets your attention with Velma's sordid elegance But she finds that murder accounts for more exposure than a thousand auditions, as Velma â€â€? who has recently bumped off her husband and sister â€â€? is basking in the biggest spotlight of her career from her prison cell The knock on "Chicago" has always been its slightness, its wisp of a story and candied ruminations on the disposability of celebrity Running time: 107 minutes The cinematic "Chicago" doesn't have that carnal edge â€â€? partly because Rob Marshall, a longtime choreographer who has worked almost exclusively in the theater, does such a good job as a movie director The fun begins when Zellweger's Roxie shoots her lover (Dominic West) in a rage because he lied about helping her get on the vaudeville stage like her idol, Velma Kelley (Catherine Zeta-Jones) " With performers as good as these and the freshness of Bill Condon's screenplay and Marshall's direction, there's really very little wrong with "Chicago Gere was born to play Billy Flynn: A frequently superficial performer who finds his characters through surface gestures, he's been giving us the ol' razzle-dazzle through 20 years of stardom " When Roxie imagines music from the ambient sounds she hears in her prison cell, we're reminded ever so briefly of Bjork's heartbreaking death-row rendition of "My Favorite Things Structured on the stage as "musical vaudeville" performed directly to the audience, "Chicago" has been reimagined as a highly subjective mind-trip seen through the eyes of Roxie Hart (Renee Zellweger), a star-struck naif who morphs into a jaded celebrity and back again Cellophane They look and sound like highly trained movie stars giving it their all, sometimes with visible effort, and neither's voice has much oomph " There's even a woman sent to the gallows, but we're encouraged to forget about it five minutes later " What it lacks is something intangible â€â€? heat But choreographer Bob Fosse â€â€? and in the thrilling 1996 revival, Ann Reinking â€â€? brought to it such a hypercharged sensuality that you were drawn in further than you felt was possible With help from prison matron Mama Morton (Queen Latifah) and lawyer-to-the-stars Billy Flynn (Richard Gere), Roxie soon surpasses Velma in her manipulation of the public's sympathy At the Movies: 'Chicago' Dec 27, 1:39 PM EST The path from stage to screen was arduous and the director could hardly be greener, but the Broadway-spawned "Chicago" is every inch a movie The cast did things with simple wooden chairs that seemed to beg for a raid from the vice squad Nobody dances more than a few steps in a single shot It's a savvy approach, and for anyone new to "Chicago" it might just be mind-blowing Latifah has the best voice in the cast by far, and the sexiest delivery â€â€? she belts out "When You're Good to Mama" with show-stopping brio Under 17 requires accompanying parent or adult guardian Some material may be inappropriate for young children With the song and dance staged as elaborate fantasies, "Chicago" doesn't resemble last year's "Moulin Rouge" as much as Lars von Trier's "Dancer in the Dark Some material may not be suitable for children â€â€?â€â€?â€â€? Motion Picture Association of America rating definitions: G â€â€? General audiences R â€â€? Restricted All ages admitted It's kinetic, dynamic and always entertaining â€â€? but also a tad chaste Reilly makes an adorable doormat as Roxie's nebbish husband, Amos, yet he's so convincingly pained that he flattens the comic impact of his song, "Mr He's a sham and he loves it "Chicago," a Miramax Films release, is rated PG-13 for sexual content and dialogue, violence and thematic elements Zellweger and Zeta-Jones put audiences in an awkward position: Since so few film actors are required to sing or dance these days, we're supposed to be impressed that they can do either, not carp about their shortcomings PG â€â€? Parental guidance suggested PG-13 â€â€? Special parental guidance strongly suggested for children under 13 |
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