Mahogany

This movie is a roller-coaster of camp, from start to finish. It is like a bunch of gay men sat down to figure out how to dress up Diana Ross and put her in different outfits all done to a never-ending loop of Diana's own song. The montage of Diana as fashion model is perhaps one of the funniest and campest scenes in a movie, and of course was copied almost shot for shot for the Beyonce montage scene in "Dreamgirls". It has to be seen to be believed.

But no-one can inspire a drag queen like Ms. Ross who never lets plot or story-line interfere with her chances to soft pout or give us long enigmatic looks. The good thing is the plot and story-line is so thin and transparent, she doesn't have to struggle too much. The storyline is simple....girl from the projects with big dreams leaves behind the bleakness of Chicago as she is "discovered" by Anthony Perkins who can't quite figure out if he is gay in the movie (as he was in real life) or straight. He veers from camp to psychotic misogynist sometimes in the same scene. The result is unintentional hilarity.

Part of the rags to riches subplot (if you can call it that) is the Billy Dee Williams character who we know is the true love of Ms.Ross. He is a local activist in Chicago who runs for political office. This part of the story is boring, because Diana isn't dressed up and mincing though every scene. It is also boring because Billy Dee's character is almost as clichéd as the rest of the story. Fighting the white honky sometimes with words but sometimes with fists. He is down-to-earth and hard-working as well as fearless. We are supposed to want him to win. Ms.Ross makes a decision that happiness trumps fame and glory and that is the end...or kind of the end. Actually I don't remember the story, because the camera barely moves from Ross the whole time.

If you love high camp then this movie is for you. At one point Diana Ross says, "I wonder if I'm doing the right thing.." Oh Diana, you are. You are doing the right thing. Fun fact, some of the frocks on display were designed by Ms. Ross, and the whole camp drag-show was put together by her then lover, Berry Gordy.

This move is camptastic!

Hot off her turn as Billie Holiday in "Lady Sings the Blues", singer Diana Ross is cast here as Tracy, a secretary in the fashion business who yearns to make it big as a designer. She falls in love with Brian (her "Lady Sings the Blues" co-star Billy Dee Williams), an earnest, well-meaning aspiring politician. But she's focused on her career, which gets a big boost when she hooks up with Sean McAvoy (Anthony Perkins), a flamboyant photographer; she's on top of the world after she makes a splash as a model, but Sean ultimately reveals himself as a vindictive, sleazy, creepy type.

Ross does well in this decent soap opera from music industry mogul / debuting filmmaker Berry Gordy (who stepped in after firing original director Tony Richardson). In fact, she and Williams are quite engaging as they depict all of the various ups and downs in the Tracy / Brian relationship. Offering fine support are Jean-Pierre Aumont, Nina Foch, Marisa Mell, and Beah Richards, but it's Perkins that gives this entertaining trash an effective shot in the arm, playing the kind of role that he was clearly born to play. There's a memorable scene where Sean shows Brian his collection of photographs - and guns.

Making good use of Chicago and Rome locations, "Mahogany" tells a patently predictable yarn (scripted by John Byrum, based on a story by Toni Amber), where the audience is never in much doubt as to how things will develop. Tracy will eventually have to decide what's really important in her life, while Brian finds himself unable to fit into this new world of hers.

"Mahogany" is overall slight but likeable enough, managing to go a fair distance on the strength of the performances. Ross also is credited with actually creating some of the costumes.

Six out of 10.

Tracy is a secretary and display worker at a large Chicago department store, but she wants to be a fashion designer. Brian is running for alderman hoping he can improve his struggling neighborhood. Photographer Sean thinks Tracy should be a model named Mahogany, and he claims to like her fashions.

I thought Diana Ross did a good job, somewhat charming, very determined to succeed despite obstacles and not willing to let anyone stand in her way. She and Billy Dee Williams were good together. Anthony Perkins started out normal but ended up crazy, which is no surprise considering his most famous role. I liked the theme song and the jazz that was played in some scenes where Sean and Tracy were together. The movie started out good but took a sharp turn downhill about halfway through and showed promise of recovering but didn't really deliver. That's not to say there wasn't quality work, but I just wasn't impressed.

The movie's primary lesson seems to be that success does not always bring happiness. I can say this without a warning because the movie starts with Tracy being a success at something (it's not clear just what) and returns to her days before being 'discovered'.

"Mahogany" is one of those movies you don't necessarily want to go out of your way to see, but want to <have seen>. Fortunately, late night cable frequently provides one with the opportunity to catch up on the classics. The plot is straight out of 1937, with the slightly disturbing--to modern ears--message that one's own personal ambition should always take a back seat to love. Diana Ross is luminous, funny, charming and beautiful in a role that doesn't ask much of her but to pose - her delivery and timing are good, but the dialogue she's asked to utter sounds pretty campy today. Anthony Perkins as a creepy, dangerous character - wow, big stretch. Billy Dee Williams as the Honest Politician Who Loves Her - well, he's good, but you could have hired a Steiff teddy bear to play that role. Love those costumes. Have to wonder whether Tracy's designs were set up to be appallingly bad (and they are) so that the audience would object less to her decision to give up on the fashion world.

In my view, the best quote is not the oft-trotted out one about success, but: "You're only young once; you can be immature forever."

The overall "stand by your man" message is singularly abhorrent, but "Mahogany" is such fine kitsch that even the staunchest feminist will laugh, despite herself.

In 1975, Diana Ross was just about the most famous black woman in the world. No other performer of color had ever reached her pinnacle of success and celebrity--not Josephine Baker, not Ella Fitzgerald, not Lena Horne. And so with "Mahogany," her second motion picture, Ross' mentor/lover (and, now, director) Berry Gordy fashioned an extravagant "hymn to how glorious it is to be Diana Ross", as reviewer Rex Reed put it. Not since the glory days of Joan Crawford's dewy-ewed close-ups had a star been so lovingly photographed; never considered a classic beauty, Diana Ross is astoundingly luscious in this film. Like all great screen divas, Ross is in nearly every scene, and when she's not, her presence still is. She plays Tracy Chambers, a spunky Chicago ghetto girl with her eye on becoming a great fashion designer. Tracy falls in love with Brian (Billy Dee Williams), an earnest politician, but his social conscience is at extreme odds with her desire for fame, fortune and the good life. Enter Sean (Tony Perkins), the world's most famous fashion photographer, who discovers Tracy, whisks her off to Rome, and prego! Mahogany, the supermodel, is born. (Sean calls Tracy "Mahogany," you see, because she is also "dark, beautiful, rich and rare.") When in Rome, Tracy/Mahogany indulges in la dolce vita, drips candlewax on her nude body at a Roman orgy, becomes the renowned fashion designer she always dreamed of becoming, and also becomes the kept woman of filthy rich Jean-Pierre Aumont...but, she soon learns, "Success is nothing without someone you love to share it with." If you haven't already guessed, despite the chic Roman locales, there's more corn here than in the state of Kansas. However, Diana Ross simply dominates the screen; it's a shame and a sin that her acting career never fulfilled its promise (due in large part to the mostly negative reviews "Mahogany" initially received), because she's precisely the larger-than-life, iconic figure that Hollywood's been lacking for so long. She's a natural and incredibly likable actress--all the more remarkable, considering her "difficult" off-screen reputation. Having said that, "Mahogany" IS best viewed as camp--the cornball dialogue, outrageous costumes (designed by Diana herself) and over-the-top performances ensure its cult status. But there is a degree of art here, and it lies squarely on the dark, beautiful, rich, rare shoulders of Miss Diana Ross.