Violenta persecución

This movie, when first watched by people from my generation (Gen X), doesn't seem to be very coherent. Something strange and psychedelic from a weird era. However, if you watch this movie and then watch How to Get the Man's Foot Outta Your Ass, which is a movie about making Sweet Sweetback, you'll see why this was so damn revolutionary. This was the first time Black America told White America on screen that the days of "kissing up to Shirley Temple's ass" were over. It was a political movie about Black America and even Minority America being tired of whiteness, as well as stating that Black America now has its own identity and society. It took some pretty strong courage to make this move when you consider the time frame that it came out in; the early seventies, a period that saw a shift from "I have a dream" to "By any means necessary." I believe this film opened the doors to allow black artistic media to be critical about white America, society, politics and corruption that generally would have been censored before. Sometimes I wonder if this helped pave the way for people like Richard Pryor, Eddie Murphy and even Dave Chapelle. My father, a white man, told me that when he went to see this film back in 1971, the audience screamed and cheered during the opening scene when across the screen it read to "all the Brothers and Sisters who are tired of being held down by the Man." Nowadays people wouldn't really respond to that, not even black society I don't think, but back then it could have gotten you lynched, even in 1971. So when people screamed and cheered in the movie theater when they saw this, I think you can imagine how important a film like this must be in film history. No minority had ever dared to say that on the silver screen before.

THIS was the first of its genre and i was cast as the *white* deputy who found Sweetback in the woods toward the end of the picture. I felt privileged to be a part of this beginning. I believe it was showtime recently who did a retrospective on black films....it was weird to see what i looked like 30 or so years ago! lol

I saw this film on opening night in Philadelphia, Pa. The audience consisted of almost entirely young, Black men (mostly) and women who were obviously active in the civil rights movement,judging by the reactions of the men in the audience when Sweetback gave "the man" his definition of justice - beating the living crap out of them. His methods were quite original - especially with the pool cue. His sexual prowness was the main hit of the film for the ladies in the audience (I admit). The scene that really had me rooting for Sweetback was when he "popped" the white biker chick (in a most original manner) and she practically killed her biker boyfriend trying to join up with Sweetback in his quest. He merely cast her off like a used oilrag, which she was. Hilarious. There was a lot of anger among Black moviegoers at that time, which is why a lot of the blaxploitation films were successful. Our voices were heard loud and clear, especially in films, where our heroes were the victors against racist society and even more racist law enforcement, no matter how grisly, gruesome or violent the methods for dealing with them were. I had the pleasure of meeting Melvin Van Peebles at a screening and lecture of his work shortly after this film was made. His brilliance and genius were even more obvious as this man reflected on his determination to film, release and distribute this motion picture even though "white" America did everything they could to ban it, including slapping it with an "X" rating. I never understood the need for the "X" rating, as many of American-International's horror films were much more violent and graphic than this film (the "X" rating was not because of the sex)yet they were never banned or given that dreaded rating. I highly recommend this film to any student of filmmaking to view it not so much for the subject matter but to see the absolute genius in Mr. Van Peebles' work. Little money had he, but a lot of guts, brains and a wonderful and creative imagination made this film the success that it was.

WOW!I loved this !!Melvin is a genius filmaker of his time ,and anybody who was there in his time knows there was only a little exageration in this.Much of America tried to ban this picture which the man not only stars in but directed and wrote.I recall that many critics not only dismissed the film ,but many said Peebles was insane .I feel he was crazy like a fox because in those days a Black man just did'nt finance a movie , certainly did'nt direct one and if he appeared in one he was usually serving something.The fact is movies reflect the society that create them ,and Sweetback is no different .Stunning in its intensity ,filled with colorful characters ,this is the film white America does'nt want you to see ,besides "Mandingo" perhaps .I got 3 copies as soon as I could.Melvin was a deep thinker and it shows ,this is hardly for young kids though .Run get a copy theres the directors cut out now!

After reading some of the comments here, I wonder if we all saw the same movie. Nonstop sex and violence? Sweetback a radical? I don't think so. Sweetback is almost a nonentity who passively goes along with his environment -- ever notice how his hips never move while we has sex? He's hardly a part of the act and his so-called sexual prowess is a construct of the other person. He hardly speaks and is often spoken for, by Beetle the pimp, by the white cops. He snaps at long last and makes a statement against the whole crappy world around him. The transformation he makes is made while on the run, through the agony of always being on the run. I thought the cinematography and use of the choir chanting from afar was brilliant -- showing the world of his soul in painful transformation. Don't think blaxploitation, when you see this -- and see it you should -- but it is NOT a blaxploitation movie. It is mythology in the making.