Musicals on TV - Bessie (2015)

HBO, 2015

Starring Queen Latifa, Michael K. Williams, Mo'Nique, and Khandi Alexander

Directed by Dee Rees

Music and Lyrics by various

I enjoyed the two biographies of black female singers I watched last year as a transition from Black History Month to Women's History Month so much, I decided to do it again. This time, instead of rock and R&B singers, we're covering the lives of seminal blues and jazz singers. We start with "The Empress of the Blues" Smith, in this HBO original movie that was the most popular film ever made for the network. How does the story of how the blues singer went from rags to riches to rags again...and rediscovered love in the process...look today? Let's start onstage with Bessie (Queen Latifa) as she recalls her life and her recent troubles during a performance and find out...

The Story: Smith started out working for pennies on the black vaudeville circuit, but what she really wants is to appear in a big stage show. At the time, even black stage managers refused to hire darker-skinned women for their shows. She befriends "Mother of the Blues" Ma Rainey (Mo'Nique) after sneaking onto her private train. Ma helps her develop her style, but when Bessie becomes more popular, they have a falling-out and Bessie leaves with her brother Clarence (Tory Kittles) to start her own act. One of the people she hires starting out is Jack Gee (Williams), a security guard who becomes her manager, and later marries her. 

Jack tries to get Bessie a contract with the newly formed African-American record label Black Swan. When they turn her down, he gets her one with Columbia. Bessie's now one of the most popular black recording artists in the US, but her success does come with major drawbacks. She's stabbed after a performance in her home town and has to drive the Klu Klux Klan off from another show. Wealthy whites treat her condescendingly. Despite buying a huge mansion for her and her family and adopting a son she names Jack Jr. (Sylvester Ambrose James II), Bessie continues her affairs with both Lucille (Tika Sumpter) and bootlegger Richard Morgan (Mike Epps). 

She eventually turns to alcohol, which proves to be a problem as the 20's roll into the 30's. Jack finally gets fed up with her affairs after they have a huge fight and not only leaves her, but kidnaps their son as well. The Depression destroys her savings, and she and Morgan move into a small apartment. Bessie does reconcile with Ma Rainey, and with her encouragement and the inspiration of a racy record by blues singer Lucille Bogan, she finally gets back on her feet and reminds audiences that she still has what it takes to be the "Empress of the Blues."

The Song and Dance: Wow. No wonder this is the most-watched HBO original film to date and won an Emmy for best TV movie in 2015. Powerhouse performances bring Smith's tumultuous story to searing life, with Queen Latifa and Williams the stand-outs as the big loving, big feeling Bessie and her hot-headed husband. Mo'Nique steals the few scenes she appears in as Smith's mentor and predecessor as queen of the blues. The costumes and sets detailing Smith's up-and-down descent from struggling singer to lavishly living celebrity and back again are historically accurate and absolutely gorgeous.  

Favorite Number: Singer Pat Bass dubs Mo'Nique, performing Ma Rainey's own "Weepin' Woman Blues" when Bessie watches her perform for the first time. Carmen Twille performs her "Prove It On Me." Bessie tries to audition with "I Got What It Takes, But It Breaks My Heart to Give It Away," but the producers turn her down. She and Bass duet on "Weepin' Woman Blues"...which is when Rainey realizes that her protege is outshining her. 

Bessie's first song on her own - and her first hit - is "Lost Your Head Blues." She gets her biggest hit, "Downhearted Blues," literally as she's walking from the hospital after her stabbing onto the stage. "Preachin' the Blues" is the number that gets cut off when the Klu Klux Klan tries to burn the tent where she's performing...with her, her band, and the entire audience in it. "Till the Cows Come Home" is the real recording by Lucille Bogan that inspires Bessie to start performing again. She sings about that "Long Old Road" to an appreciative crowd. 

Trivia: Sadly, Bessie's comeback proved to be short-lived. She died in a tragic and controversial car crash in 1937. 

Mo'Nique was originally offered Viola, but asked for Ma Rainey instead, since she'd played types like Viola before. 

Was in development for 20 years, including originally being planned for a theatrical release, before it finally went to HBO. 

What I Don't Like: While the raw subject matter makes this more interesting and honest than most biographies, it still hits all the standard beats of the genre. For all the gorgeous details and terrific performances, I wish the movie had gone a little more outside the box and had explored other parts of Bessie's colorful life, like her connection with audiences or her lesbian lovers, even further. Not to mention, some characters have been fudged or combined. Lucille, for instance, is a combination of Smith's many female lovers. Bessie also met Ma Rainey as a teenager, and they never had a falling out. They also gloss over a lot of Bessie's life in the early Depression, including how she lost her money. There's too many characters, and not enough time to deepen them all. 

The Big Finale: If you love the blues, Smith, Queen Latifa, or the music of the early 20th century, you'll want to learn more about Bessie Smith and her world of gin and sin, too. 

Home Media: As a fairly recent and very popular movie, it's easily found on disc and streaming.

DVD

Blu-Ray

Amazon Prime

Musicals On TV - Polly: Comin' Home!

Disney/NBC, 1990

Starring Keisha Knight-Pullman, Phylicia Rashad, Dorian Heywood, and Anthony Newley

Directed by Debbie Allen

Music and Lyrics by various

Polly was one of the biggest hits to run under the banner of The Magical World of Disney. It proved to be so successful, a sequel with almost the entire original cast turned up a year later. Is it just as much fun, or should it be left behind? Let's begin on the road, as Jimmy Bean (Brandon Quintin Adams) waits for his best friend Polly Whittier to return from the hospital in Atlanta, and find out...

The Story: Polly's not the only one arriving in Harrington that day. The new British head of the orphanage Dabney Mayhew (Newley) also arrives that day, and gets quite a shock when the majority of the children in his charge turn out to be black. Polly's Aunt Polly (Rashad), who hired him, sets him straight quickly. Other problems aren't as easily dealt with. Mayhew wants to turn the orphans into "gentlemen," which basically means getting them uniforms and drilling them in manners. Jimmy convinces Polly to run away with him to Atlanta to get Elvis Presley's autograph. Polly's more interested in convincing Dr. Shannon (Heywood) to come home and start seeing Aunt Polly again. Aunt Polly, Mayhew, and Reverend Gillis (Larry Reilly) go after them...and arrive just in time for tragedy to strike Jimmy.

Even when they do get Jimmy home, the town is a hotbed of intrigue. Harrington is having its first open election to find out which of their two mayors should remain in office. Meanwhile, Polly is thrilled when Dr. Shannon comes back with them...but Mayhew's not as happy when he learns Shannon's to observe him, and the orphanage may be shut down and turned into a subdivision.

The Song and Dance: Once again, the charming cast mostly carries the day. Newley is the best of the new additions as the school teacher who is at first offended by his pupils, then becomes one of their biggest advocates after he gets to know them and the town. Pullman may be even more adorable here, especially when she's by Jimmy's side hoping he'll talk to her again. 

Favorite Number: The opening "Comin' Home" winds in almost the entire cast as they celebrate Polly's return from the hospital in Atlanta. The now-pregnant Nancy (Vanessa Bell Calloway) reminds Polly that "You've Got a Family" that loves her no matter what. Newley leads the orphans through a stuffy dance routine to remind them that "What a Gentleman Does" is behave like a "real man." (It ends prematurely with Aunt Polly and Polly almost literally falling into it after they were listening in!) Polly dreams about "Hot 'Lanta, GA," complete with fog and dark lighting and dynamic dancers in slinky bare costumes, right before she runs away with Jimmy. 

Mayor Warren (Ken Page), Nancy's husband George (T.K Carter), and barber Mr. Tarbell (George Anthony join the townspeople in claiming it's "A Distinct Possibility" that the mayor may be ousted. "I Can't Hear My Heart" is the big romantic duet for Dr. Shannon and Aunt Polly as they realize how much they mean to each other; "Show Me the Way" is the chorus number for the townspeople after everyone realizes that races can live in harmony, and people weren't meant to rule alone.

What I Don't Like: First of all, what happened to Mr. Pendergast? He's not even mentioned. Brock Peters is one of the only major actors from the first film who doesn't appear here. Second, the story is even more maudlin here than in the first film. The entire sequence with Jimmy and Polly running off to Atlanta in particular is contrived and ridiculously melodramatic. Polly's dark dream sequence, nifty dance routine aside, seems to have come from a different movie entirely, or maybe a music video of the early 90's. With Menken working on Beauty and the Beast and Aladdin, the songs were written by several different songwriters and lost both their distinctive edge and their doo wop pastiche sound and are now annoyingly generic, especially the modern-sounding "I Can't Hear My Heart."

The Big Finale: If you enjoyed the first film. you'll find just as much to love in this one. 

Home Media: Same deal as the first film - only released on DVD as part of the Disney Movie Club in 2008 and now out of print and expensive. You're better off looking for this one used. 

DVD

Cult Flops - Graffiti Bridge

Warner Bros, 1990

Starring Prince, The Time, Morris Day, and Jerome Benton

Directed by Prince

Music and Lyrics by Prince, the Time, and others

Prince made one last shot at movie stardom in 1990. His 1987 concert film Sign O' the Times and 1988 album Lovesexxy were disappointments, but his success with the soundtrack for the 1989 Batman and the single "Batdance" put him back on top. Originally, Prince intended for this to revolve more around Day's band The Time, but somewhere along the line, it mutated into a sequel to Prince's biggest hit Purple Rain. Does it reach the heights of his first film, or is it less-than-heavenly? Let's begin at the Kid's (Prince) club Glam Slam and find out...

The Story: Billy, the owner of the Fifth Avenue Club in the first film, willed half of Glam Slam to him. He willed the other half to Morris (Day), who also owns the club Pandemonium. Morris needs to pay the mayor $10,000 and tries to force the Kid to sell his half. The Kid is considering it. He's done nothing but write songs and letters to his now-deceased father since the latter's passing. 

Into this hotbed of intrigue walks Aura (Ingrid Chavez), an angel who wants to convince the Kid and Morris to repent and lead more straightforward lives. Things really get complicated when both men fall hard for her, which only makes Morris more jealous. He first trashes Glam Slam, then performs outside the club to sway visitors. The Kid finally challenges Morris to a musical duel at Glam Slam that ends in tragedy and makes Kid realize what Aura really meant to him. 

The Song and Dance: Prince explores spirituality, sexuality, and salvation in this look at how one woman changes the lives of two men in Minneapolis. The enormous, neon-drenched sets and funky, urban early 90's gives it a strangely ethereal vibe and contrasts nicely with the other major black musical that year, the more upbeat and goofy House Party. Prince's charisma is in full-force here, whether he's brooding over those letters to his father or lifting up the club goers in the end in a white shirt with wispy fog behind him. 

Favorite Number: We open with the Kid singing about his "New Power Generation" with his current band at his club. He gets down with jazz master George Clinton as they show "We Can Funk." "The Time gets "Release It" in front of the Grand Slam to lure away customers. Young pop and rap sensation Tevin Campbell shows off what made him a hit with kids and adults alike in his big dance routine "Round N' Round." "Seven Corners" is the big number with Aura and the Time at Grand Slam and as they leave. Morris thinks he's a "Love Machine,"and so does the Kid's girlfriend Jill (Jill Jones), but the Kid doesn't agree. Mavis Staples gets another great number as she leads the chorus in singing about her club and who she is, "Melody Cool." "Thieves In the Temple" is the Kid's song as the Time and Morris destroy his band's instruments. The movie ends with a backlit Kid and the Steeles as he insists he "Still Would Stand All the Time" to the entranced club goers.

Trivia: Prince originally wanted Madonna to play Aura, but she thought the script was a load of hogwash. Kim Basinger, whom he was dating at the time, was his second choice, but they broke up and she dropped out. 

This would be Chavez' only film and Tevin Campbell's first film.

Shot almost entirely at Prince's Paisley Park Studios in Minnesota. 

What I Don't Like: This is basically an extended music video. It looks like a music video of the time, and it certainly feels like one, with its disjointed sequences and barely-there plot. No one comes anywhere close to Prince's charisma and cool. Chauvez may be able to write songs, but she can't do much more than look mystical. Day and Benton do have a few amusing sequences that showed they could have made a fairly funny pair with better material. The script is atrocious, the characters negligible. The fantasy elements feel out of place and are completely at odds with the dark, gritty biography in the first film, and it lacks the first film's almost documentary feel and authentic outdoor shooting, too. 

The Big Finale: Good music and a few creatively choreographed dance numbers can't overcome the overwrought and amateurish script and direction. Once again, for major Prince fans only. Everyone else is better off looking up the soundtrack and skipping the film entirely. 

Home Media: Like Prince's other films, easily found on disc and streaming. 

DVD

Blu-Ray

Amazon Prime

Cult Flops - Under the Cherry Moon

Warner Bros, 1986

Directed by Prince

Starring Prince, Jerome Benton, Kristin Scott Thomas, and Steven Berkoff

Music and Lyrics by Prince and the Revolution

Prince was on top of the world after Purple Rain became one of the biggest blockbusters of 1984 and the soundtrack went platinum. Warners pretty much let him do whatever he wanted after that, and apparently, what he wanted was a 1930's-style romantic comedy set in the French Riviera. He tried to do pretty much the same thing he had for Purple Rain, hiring music video director Mary Lambert and his current girlfriend Susannah Melvoin as his leading lady...but this time, it didn't fly. No matter how much he liked her, Melvoin couldn't act and was replaced by Kristin Scott Thomas, and he and Lambert had creative disagreements that led to him taking over the shooting. After all that, how did this black-and-white romance between a gigolo and the rebellious daughter of a billionaire come out? Let's begin in a night club as Christopher Tracy (Prince) performs and find out...

The Story: Tracy and his best friend Tricky (Benton) work at a local nightclub by day and look for rich ladies to marry and gain their inheritance at night. They think they've found the perfect mark in Mary Sharon (Thomas), who is about to inherit a 50 million dollar trust fund from her wealthy father, shipping executive Issac Sharon (Berkoff). They crash her birthday party, and while they get thrown out, Christopher does catch Mary's eye. 

Mary is not amused initially. She even sets him up so he catches his current paramour, Mrs. Wellington (Francesca Annis), having an affair with her father. After that, Tracy and Mary do get closer despite her father's loud objections. He wants her to marry one of his employees. After he drags her out of a restaurant where she's meeting with Tracy and Tricky, she realizes how much control he has over her life and runs away with Christopher. Her father's men and the police follow with guns...and while their relationship ends in tragedy, Mary never forgets the charming young man who won her heart.

The Song and Dance: Bizarre but stylish attempt to resurrect the romantic melodramas of the 1930's. Thomas, who would go on to make more romantic dramas like The English Patient in the 90's and early 2000's, does by far the best of the cast as the spoiled heiress who doesn't know what she wants in life, until Christopher crosses her path. There's some lavish costumes too, with everyone dolled up to the nines in sequins, ruffles, and feathers, and decent black and white cinematography. This was filmed at the real French Riviera, and it certainly makes the film feel a lot more authentic. 

Favorite Number: We open with Christopher performing "Christopher Tracy's Parade" on the piano in the nightclub. Tracy and Tricky say "I Wonder U" as they crash the party...and get kicked back out. Christopher points out how "Girls & Boys" behave when he and Tricky take Mary to an upscale restaurant, only for Daddy to drag her out. 

The big one here is the massive #1 hit "Kiss." And what a kiss it is - the sequence is basically Tracy and Mary making love in the back of his vintage 1964 car, and getting quite into it. The movie ends with the music video-style "Mountains," which Prince and the Revolution sing under the first half of the credits.

Trivia: First film for Kristin Scott Thomas.

Warners was hesitant about filming this in black and white. They originally shot it in color, then converted the film to black-and-white. Only the color version of the credits video for "Mountains" has been found.

What I Don't Like: First of all, stylish though this is, it's still a vanity project for a major rock star of the 80's. Prince never did become much of an actor. It's especially pronounced against the fiery young Thomas. He's not much of a director, either. The movie occasionally looks amateurish and stiff. There's really no reason for it to be in black-and-white. In fact, it might have done better in color. It would have resembled a Technicolor melodrama of the 1950's. If he had to keep the black and white, he probably should have set this in the 1930's, when dramas of this type were far more common. He has no chemistry with Thomas, either, making their supposed passion in the second half look more silly than anything. He works better with Benton than with her.

The Big Finale: This is another one of those cult movies people think is either grossly underrated or the worst movie ever made. While it's far from terrible, it's not that great, either. Only come here if you're a huge fan of Prince or his music. Everyone else is better off looking for the soundtrack album Parade. 

Home Media: Easily found on disc and streaming.

DVD

Blu-Ray

Amazon Prime

Musicals on TV - Polly (1989)

Disney/NBC, 1989

Starring Keisha Knight Pullman, Phylicia Rashad, Dorian Harewood, and Vanessa Bell Calloway

Directed by Debbie Allen

Music by Alan Menken; Lyrics by Jack Feldman

Pollyanna debuted in 1913 and was an instant sensation. The story of "The Glad Girl" who befriended an entire town and spread joy and happiness wherever she went, only for her positive outlook to be tested when tragedy strikes, resonated with people of every age and class. It became so popular, the word "Pollyanna" remains a slang term for an overly cheerful and optimistic person. Disney already had one go-around with this story in live-action in its hit 1960 version with Haley Mills. They dusted it off for their Magical World of Disney anthology series in 1989, with a mostly-black cast and a revised plot based on the 1960 film. How does a somewhat updated "Glad Girl" look now? Let's begin on the bus to Harrington, Alabama, in the 1950's with a sleepy Polly Whittier (Pullman) and find out...

The Story: After the death of her parents, Polly's sent from Detroit to live with her Aunt Polly (Rashad), a descendant of a founder of Harrington and the richest woman in town. Aunt Polly is proud of being able to provide the townspeople with anything they may need...but in her attempt to show how strong she is, she's shut everything else out, including music and laughter. Little Polly brings a great deal both to the depressed townspeople. She befriends orphan Jimmy Bean (Brandon Quintin Adams) when he makes fun of her for being rich, brings menacing Mr. Pendergast (Brock Peters) out of hiding, and convinces meek Reverend Gillis (Larry Riley) to write  his own sermon that lifts people up rather than damning their souls. 

Harrington is all-black because a bridge connecting the black and white sides of the town burned down in the 1930's. No one knew who did it. Miss Snow (Celeste Holm), the head of the white side of the town, blamed the black side, and Aunt Polly blamed Miss Snow and her people. It's Polly who finally brings the two sides together when she makes amends with Miss Snow. Aunt Polly's furious when the town holds a bazaar to raise money for music instruction for the orphans without her approval. It's not until her niece is grievously injured while sneaking out that Polly realizes how much her rigid and unfeeling behavior has hurt not only her niece, but both sides of the town.

The Song and Dance: Pullman and Rashad, then stars of the hit NBC sitcom The Cosby Show, are the thing here. Pullman is hilarious, charming with her aunt and the townspeople and an absolute riot with Jimmy, claiming she can spit further and run faster than him! Rashad comes off best of the adults as the tough woman who's coldness hides her belief that the only way people will love her is to make them fear her. Holm and Peters also do well as a far more frightening version of the shut-in older hermits Pollyanna cheers up in the book and the 1960 film. The costumes and sets are fairly lavish for 1989 television and go a long way towards showing off the world of rural 1950's Georgia and how segregation affected it. 

Favorite Number: Polly insists to her new friends, the cook Mrs. Conley (Barbara Montgomery) and maid Nancy (Calloway) that she's "By Your Side" when they bring her up to her small but clean and cute room. "Honey Ain't Got Nothin' On You" is the big girl-group number on the radio that has Polly and the saleswomen at the dress shop dancing along when she insists they put on that "be boppin' Detroit sound." Jimmy Bean and his fellow orphans really get going outside the church with "Sweet Little Angel Eyes." Polly even joins in, but Aunt Polly isn't as impressed. 

Aunt Polly tells herself she shouldn't want "Something More" after arguing with Dr. Shannon (Dorian Heywood) about letting go of her hold over the town...but the truth is, what she wants is to be loved. Polly sings about a "Rainbow Maker" after she goes to sleep...but she, Nancy, and her aunt sing about three very different ideas of having a rainbow in your life. Dr. Shannon, Nancy's sweetheart George (T.K Carter), and Mayor Warren (Ken Page) encourage the townspeople to "Shine a Light" and find it in themselves to defy the Harringtons. Likewise, when the Reverend finally trades in the gloomy fire-and-brimstone sermons for one based around "the glad texts," he encourages the entire congregation to "Stand Up!" in the film's best dance routine. 

Trivia: Last movie for film legend Butterfly McQueen, who plays one of the fussy ladies in the town. 

What I Don't Like: This has even less to do with the original book than the 1960 film. In the book, Pollyanna was hit by a car. Poor Polly doesn't even make it to the bazaar here. Aunt Polly was rich but not a rigid businesswoman, and the town wasn't under her control and didn't put on a bazaar. No bridge, either - that was invented purely for this movie, probably to emphasize the civil rights theme. Speaking of, that theme is hammered home with all the subtlety of a picnic basket to the face. The music is good, but not terribly memorable, especially compared to some of Menken's other work in this era. 

The Big Finale: Charming and sweet fare for families and lovers of Menken's other work if you can find it.

Home Media: You'd think this would be a natural for Disney Plus, but to date, it's only release was a now-expensive DVD put out for the Disney Movie Club in 2008. You're better-off looking for this one used. 

DVD

Cult Flops - The Emperor Jones

United Artists, 1933

Starring Paul Robeson, Dudley Digges, Frank H. Wilson, and Fredi Washington

Directed by Dudley Murphy

Music and Lyrics by various

Paul Robeson was a strong, virile black actor at a time when minority actors in the major studios were more often relegated to comic relief or musical numbers that could be easily snipped out for white audiences in the south. However, in the 20's and the 30's, more white authors began writing plays that required partially or entirely black casts. One of those was The Emperor Jones by Eugene O'Neill. On Broadway in 1920, it was the first play to have a black actor in a starring role in a major play, rather than someone in black makeup. Robeson appeared in a 1925 revival and so impressed O'Neill, he wouldn't allow the movie to be made without him. How does this movie look now? Let's start with a rousing black choir, just as local boy Brutus Jones (Robeson) is leaving to become a Pullman porter, and find out...

The Story: Brutus has big plans. He wants to work his way up to being the stevedore for the President's private car. His white boss doesn't appreciate his fast ascent, and he's easily swayed by loose women and men who want to make a fast buck. One night, after a dice game gets out of hand, he accidentally stabs Jeff (Wilson), who had introduced him to gambling and to the lady they both loved Undine (Washington). 

He ends up in a prison chain gang, but breaks out after he strikes a warden for abusing a prisoner. He convinces his girlfriend Dolly (Ruby Elzy) to help him flee the country. He takes a job shoveling coal on a steamer bound for the Caribbean. Catching sight of a remote island, he decides that's the place for him and swims to shore. He befriends the only white man, the con-artist merchant Smithers (Digges), then dethrones the previous ruler and makes himself emperor. However, his subjects aren't too thrilled with the way he over-taxes them and pockets the proceedings and revolt against him. Haughty Jones thinks he can survive in the jungle, but too many of his demons finally lead him straight to his doom.

The Song and Dance: Wow, this is intense. Robeson is mesmerizing as the black man who has been denied power all his life by those who rule society in the US, only to be corrupted by it when he finally gets the chance to be the lord of his own domain. He totally dominates the proceedings, whether he's shooting dice with that eager wide grin or sitting majestically on a throne, demanding his underlings pay him tribute. Some nice shooting, too. You'd never know they filmed this at the same Astoria Studios in New York as The Smiling Lieutenant. The second half in particular looks great, with its fetid jungles and languid tropical atmosphere. Great costumes, too, from the gowns and tuxes on the ladies at the clubs to the uniforms on Jones and his people in the Caribbean after he takes over.

Favorite Number: We open with the church congregation in Jones' Georgia home town really rolling with the traditional black spiritual "Now Let Me Fly." Jones even lends his rich baritone at one point near the end. "St. Louis Blues" turns up at a party in New York where the ladies get into a major cat fight. Before that, a very young Harold Nicholas goes to town in a tap routine that's a preview of the things he and his brother would do a decade later. Robeson ladles that tenor into the sorrowful "Water Boy" while on the chain gang and the somewhat more upbeat "I'm Travelin'" while he's working on the ship. "Daniel" is his big number with the chorus on the island.

Trivia: Shot in New York because Robeson had a clause in his contract that he wouldn't shoot south of the Mason-Dixon Line, due to the Jim Crow laws there...and that included southern California and the Florida swamps, both originally intended as shooting locations. Haiti was also considered, but ruled out due to budget restrictions. 

The movie had censorship trouble the moment it came out. Censors cut it to 72 minutes, which was the only one available until the Library of Congress restored it to 76 minutes in 2002. A full version has yet to be found, and would seem to be gone forever. 

What I Don't Like: Let's discuss the dialogue that left the censors - and many black audiences - in an uproar. The N-word is bandied around quite a bit in this movie, both in the US and the tropical island, and has been restored in the current Criterion print. It'll be even rougher on the ears of many current audience members. This is also a very violent movie, between Jones killing his friend over gambling and women, beating the prison guard, and then getting run down by his own people on the island. No one's performances come anywhere near Robeson's. Digges tries too hard to be comic relief; all of the other actors fade into the woodwork. There's also some brief topless dancers under the credits in the opening. 

The Big Finale: There's no movie quite like The Emperor Jones. If you're a fan of Robeson and want to see what he can do with a leading role, or are interested in the history of black cinema and can handle the violence and language, hop a steamer and check it out. 

Home Media: This is one time you'll want to spring for the DVD. If you love Robeson, Criterion has a whole set devoted to his work. It includes this one as fully restored as it's likely to get at this point, with the original blue tints in the last 20 minutes intact. Avoid all of the inferior public domain streaming and DVD copies that use an older, unrestored print. 

DVD - Paul Robeson: Portraits of the Artist

Amazon Prime

My Sweet Valentine - Sepia Cinderella

Herald Pictures, 1947

Starring Billy Daniels, Sheila Guyse, Tondeleyo, and Jack Carter

Directed by Arthur H. Leonard

Music and Lyrics by various

Let's celebrate Valentine's Day this year with one of the most charming of all "race films." These independent B flicks were made from the 20's through the late 40's for black audiences in smaller, segregated houses. They didn't have the resources of even the "Poverty Row" studios in the era, but what they lacked in largess, they often made up for in vitality...and that's true of this year's Valentine's Day romance. How does the fairy tale look as the story of an up-and-coming songwriter and the girl who truly loves him? Let's start at the boarding house where Barbara (Guyse) and Bob (Daniels) live and find out...

The Story: Barbara helps Bob write what becomes a hit song, "Cinderella." It becomes a hit, but the success goes to Bob's head and he abandons his friends and seldom comes home to the boarding house. He falls for the wiles of devious rich club owner Vivian (Tondeleyo), who sets him up in his own club and milks his popularity for all its worth. Not only does this upset Barbara, but Vivian's fiancee Ralph (Jack Carter) isn't happy, either. When it seems the public's losing interest in Bob, his press agent (Fred Gordon) sets up a contest where he'll choose a woman's shoe out from the dozens entered, then sing with her. Barbara and the residents of the boarding house are determined that she should be the one he chooses...and that he should realize how much she really means to him.

The Song and Dance: "Adorable" isn't a word that comes up often in B-musicals with any kind of cast, but this is just so sweet. Guyes is so lovely and charming, one wonders how Bob can ignore her for so long, and Tondeleyo has just as much fun seducing him. Carter gets a few good moments as her scorned lover mid-way through the film, including a club number of his own. Look for a now-grown Freddie Bartholmew as himself in the audience near the end of the movie. There are some decent numbers, too, including the "Cinderella" song that causes all the ruckus. It's also not as obviously cheap - some of the ladies' gowns are lovely

Favorite Number: "Cinderella" turns up four times, starting with when Bob and Barbara write it in the beginning. Bob sings it at least twice, once in his own "Cinderella Club," while Barbara gets to solo on it near the end. We kick off with Bob's band really tearing into a jiving instrumental routine. They're so good, they get a major ovation from Barbara and Mama Keyes (Hilda Offley). Bob's other big number at the nightclub is the more upbeat "Ring Around My Rosie." Deek Watson and the Brown Dots get two numbers at the contest later, wondering "Is It Right?" and singing about "Long Legged Lizzie." Even the press agent gets to lay into "Oh Ho, It's a Lovely Day." 

Trivia: Bartholmew went to World War II when his voice changed and ended his career. He attempted a comeback on TV and in smaller movies in the late 40's and early 50's, but it never stuck, and he finally gave up acting for television directing and producing in 1952. 

Billy Daniels' first movie. He'd have a real-life hit a year later with his rendition of "That Old Black Magic."

Look fast for Sidney Poitier as an extra. 

What I Don't Like: The cliches fall hard and fast here. Bob's one of the most naive, oblivious idiots you've ever seen, and not just because he fell so hard for the extremely obvious Vivian. He's an easy mark for pretty much everyone, from the fast-talking press agent to the jealous Ralph. While the musical numbers are inserted less awkwardly than in Juke Joint, they're still kind of shoehorned in. Despite them constantly playing the "Cinderella" song, the story doesn't feel particularly "Cinderella" until the last ten minutes or so when they hold that contest. Also, the scene where a black man is obviously playing a stereotypical Chinese being conned by a phony psychic may not sit well with some folks today. 

The Big Finale: Charming and sweet, this is a lovely little romance for Valentine's Day and when you're looking for something lower-key. 

Home Media: It's in the public domain, so it's pretty easy to find anywhere. It can often be found streaming for free.

DVD - Harlem Double Feature - Dirty Gertie From Harlem USA/Sepia Cinderella

Tubi

Valentine's Short Subject Special - The Bernstein Bears' Comic Valentine and Winnie the Pooh: A Valentine for You

Let's kick off the season of romance with two "bear-y" good specials from the 80's and 90's. These animated shorts on the funny side of love, featuring some of literature's favorite bears, will melt your heart during this long winter. 

The Bernstein Bears' Comic Valentine

NBC, 1982

Voices of Ron McLarty, Pat Lysinger, Knowl Johnson, and Gabriela Glatzer

Directed by Mordecai Gerstein and Al Kouzel

Music by Elliot Lawrence; Lyrics by Stan Bernstein

The Story: Sister Bear (Glatzer) loves love, and she's a huge fan of Valentine's Day. Brother's (Johnson) only interest in February is hockey season. The Bear Country Cousins are going up against their rivals the Beartown Bullies. He tries to concentrate and practice, but it's hard with someone leaving him mysterious valentines signed "Honey Bear," and seeing the lovely Charlene (Glatzer) everywhere. Meanwhile, Papa Bear (McLarty) wants to show the depths of his feelings for Mama (Lysinger), but as usual, Mama reminds him that simple gestures are better than all the grand statements in the world. 

The Animation: Not the flashiest, but that's not to be expected of a TV special from this time period. The characters can be a little stiff, but the animation does at least somewhat resemble the characters in the books, which is probably all that matters for this franchise. 

The Song and Dance: All of the Bernstein Bears specials have their fun moments, this one included. It's hilarious to see Brother claim he's not interested in love, then moon over Charlene. Papa and Mama's roles are somewhat downplayed compared to the other specials, but Papa gets a few good gags in his attempts to carve mountains to show how much he loves his wife. I love whom the massive mystery goalie on the Bullies turns out to be, too!

Favorite Number: We open with the Bear Family describing what they do during the seasons "In Bear Country." "Love Is," Mama's sprightly number explaining how love is a lot simpler and more intimate than carving up mountains, is also heard under the closing credits. Brother derides Valentine's Day as "All That Mush," even as his little sibling skates heart rings around him. 

What I Don't Like: As mentioned, I sort of wish Mama and Papa had more to do. Their roles are somewhat downplayed compared to some of the other specials and the early books these are inspired by. 

The Big Finale: If you or your kids are fans of the earlier Bears books or the cartoon series, you'll want to check out this adorably funny hymn to love in all its forms. 

Home Media: Currently on DVD bundled with a few episodes of the 1980's TV series. 

DVD - The Bernstein Bears: Kindness, Caring, and Sharing

Winnie the Pooh: A Valentine For You

Disney/ABC, 1999

Voices of Jim Cummings, Paul Winchell, John Fielder, and Ken Sansom

Directed by Keith Ingham

Music by Micheal Silversher; Lyrics by Patty Silversher

The Story: Pooh (Cummings) and his friends are shocked when they find Christopher Robin (Brady Bluhm) writing a valentine for a girl named Winifred. Owl convinces them he's been bitten by the "Smitten" bug, and the only way to undo it is to find another one to bite him again. They all chase after what they think is a "Smitten" and get lost, only for its glow to lead them back to each other and to Christopher Robin. Pooh sees how happy the boy is and can't bring himself to unleash it on him...but Christopher reminds him that there's always room for all kinds of friends, old and new.

The Animation: While it does move slightly better than Comic Valentine, it's still nothing flashy. Once again, all this needs to do is somewhat resemble the artwork in the books and move well enough to get the job done. 

The Song and Dance: The last Pooh holiday special on TV to date is sweet and charming, and maybe even a tad dark compared to some of the other specials. The look on Pooh's face in the end when he releases the "Smitten" after he thinks he's lost his best friend is heartbreaking. On the other hand, we get the very funny search for the "Smitten," and this is one of only two holiday specials to give Owl a major role. 

Favorite Number: Owl warns Pooh and his pals what happens when "The Smitten Bites," in a sequence reminiscent of the later "Backson" number in the 2011 Winnie the Pooh. Christopher Robin ends the show with a lovely ballad explaining how there are "Places In the Heart" for all friends, old and new.

Trivia: The last time Paul Winchell voiced Tigger. 

What I Don't Like: This time, we have Owl and are missing Kanga and Roo. They're only seen as stuffed animals in the opening. As mentioned, this is neither the first, nor the last time Pooh and his friends went on an adventure when they thought something took Christopher Robin away from them. This seems to have been somewhat inspired by Pooh's Grand Adventure, where they were worried about the boy being trapped in "skull," and would crop up again in Winnie the Pooh. 

The Big Finale: Charming and adorable, this is worth checking out on Valentine's Day for younger children and Pooh fans.

Home Media: To date, this is the only Pooh holiday special to be available on DVD and streaming in its original half-hour format, without a direct-to-home media movie surrounding it (including its release on Disney Plus). The DVD is packaged with two additional New Adventures of Winnie the Pooh shorts, "Un-Valentine's Day" and "The Three Little Piglets." 

DVD - Special Edition

Disney Plus

House Party 2

New Line Cinema, 1991

Starring Christopher "Kid" Reid, Christopher "Play" Martin, Martin Lawrence, and Tisha Campbell

Directed by Doug McHenry and George Jackson

Music and Lyrics by various

House Party proved to be one of the biggest successes of 1990, vastly making up for the Kid N' Play Saturday morning cartoon running only four months. It was so popular, a follow-up was in development shortly after the original came out. It was an even bigger hit when it came out in October, cementing not only Kid N' Play's stardom, but providing a showcase for up-and-coming rappers like Queen Latifa as well. How does the story of Kid's first few weeks at college look today? Let's start with Christopher "Kid" Robinson (Reid) and his best friend Peter "Play" Martin (Martin), at church and find out...

The Story: After his father passes away, Kid manages to get a scholarship from his local church for college. His girlfriend Sidney (Campbell) is also attending, but her feminist roommate Zora (Queen Latifa) encourages her to be more independent and look for older men...or no men at all. Play's dreaming of stardom and gives Kid's scholarship money to a woman named Sheila Landreaux (Iman) who claims to be a music producer, but is really a con artist. 

After she skips town with her partner Rick (Louie Louie) and leaves both high and dry, Kid takes a job in the school dining hall with the demanding Mr. Lee (Tony Burton) to earn money for his tuition. Not to mention, Sidney is now dating the dean's snooty assistant Miles (Christopher Judge), who helped Kid to get close to her. Kid finally decides he has no choice but to use Play's idea of a pajama party in the dining hall to make back the money.

The Song and Dance: In some ways, I enjoyed this one more than the first. For one thing, Kid n' Play are now playing slightly closer to their real ages. For another, the college backdrop gives the plot a little more heft to it than just a bunch of kids trying to attend a party. They (briefly) discuss real issues effecting black students in college, even today, and the importance of education. The music's even better, too, and we have appearances by supermodel Iman as the duplicitous Sheila, William Schallert as the dean who thinks he's doing his black students a favor by singling them out, and Queen Latifa early in her career as the tough senior who doesn't know as much as she thinks about men or college.

Favorite Number: We open with Kid's nightmare about his high school graduation being "Rated R." A montage of the hit "O.P.P" by Naughty By Nature takes us into college as we see Kid attempt to joke his way through his first week of school. Latifa and the chorus remind the school council that "Knowledge Is Power," and the black students have a right to learn about their history and culture in college. R&B star Ralph Trevant kicks off the party with "Yo Baby Yo." Kid N' Play get together long enough to perform and dance to their own "Frienz" and "Ain't Gonna Hurt Nobody" at the party. "Motownphilly" by Boys II Men provides the backdrop for Kid, Play, Bial, and the bullies (who are now security guards) chasing down Miles and the con artists at the party. The sorrowful ballad "It's So Hard to Say Goodbye to Yesterday" provides the backdrop for Kid leaving college and admitting at his teacher that he wasn't able to make it.

Trivia: Speaking of Kid's father, he was written out because Robin Harris passed away several months after the release of the first film.  

In real-life, Kid did graduate from college in the Bronx in 1986. Play didn't go to college in the film or in reality, but he's taught hip-hop and music studies at several schools, currently Florida A&M. 

What I Don't Like: First of all, two of the highlights of the previous film were Harris' ad-libbing and the close relationship between Kid N' Play. The latter in particular is sorely missed for the first half of the film, when the two are at odds over Play giving the scholarship check to Sheila. Second, while education is especially important for black students who are often left out of it, their attempts at moralizing via Zora and Kid's professor Sinclair (Georg Stanford Brown) comes off as more preachy than well-meaning. There's also the fact that yes, some of this still hasn't dated well, from the wacky prints on those pajamas at the party to appearances by several now-barely-remembered rap & R&B stars. 

The Big Finale: Same deal - if you loved the first film or other college stories about wacky frat hi-jinks, or are a huge fan of rap or R&B from the early 90's. you'll want to throw on your own pajamas and join this party. 

Home Media: Easily found on streaming and on DVD, solo and bundled with the other House Party films.

DVD

DVD - 4 Film Favorites: House Party Collection

Amazon Prime

House Party (1990)

New Line Cinema, 1990

Starring Christopher "Kid" Reid, Christopher "Play" Martin, Martin Lawrence, and Robin Harris

Directed by Reginald Hudlin

Music and Lyrics by various

With the remake now playing in theaters, I thought it was high time to revisit the original wild teen dance party. Kid n' Play were a popular duo in the then-up-and-coming world of rap and hip-hop. This new sound left the cities in the late 80's and early 90's to finally find mainstream popularity, even on Saturday morning television. This came out in the spring, ahead of Kid n' Play's animated cartoon that debuted in the fall. How does this early look at teen rap culture come off today, after much grittier hip-hop films have debuted? Let's start with Chris "Kid" Robinson (Reid) as he begins his day and find out...

The Story: At their high school, Kid's best friend Peter "Play" Martin (Martin) announces he's having a big house party for all the kids in the neighborhood that night, since his parents are on vacation. Kid would love to go...if he hadn't gotten into a huge fight in the school cafeteria with local bully Slab ("Paul Anthony" George). His father (Harris) grounds him, but he sneaks out anyway. 

Kid doesn't have much luck, even after he manages to escape. He first runs into Slab and his buddies again, then ends up in a college frat reunion party to avoid them. When the bullies invade that, he ducks away, only to run into the local cops. He does manage to get to the party after they harass Slab (and his father), only to get into a rap battle with Play, the girl he has a crush on, Sydney (Tisha Campbell), and her friend Sharane (A.J Johnson). He does go home with Sydney, but she's not happy about him flirting with Sharane at the party. Not to mention, Slab's still out there looking for him, as are the police and his father. 

The Song and Dance: You can't get much more early 90's than this movie. The boys wear either tight muscle shirts or snazzy, bright-colored suits, ties, and fedoras, while the ladies go for slouchy cardigans or barely anything. There's more energy in this movie than there are in most other films released that year. While they're not the best actors in the world, Martin and Reid are appealing comedians, and there's early performances from Campbell as the girl Kid's crazy about and Martin Lawrence as Play's DJ buddy Bilal. Harris also has a few hilarious moments as Kid's strict and very tough father who will make a man out of his son if it kills them both. 

Favorite Number: "Hey Love" is the number at the frat party that Kid tries to update by having the DJ turn the 50's doo wop into 90's rap. It actually goes over pretty well...until Slab and his buddies charge in after Kid! "To Da Break of Dawn" is the first number the kids dance to at the party, but it's the vibrant title song that really gets them moving. There's also "Kid n' Play," their big duet at the party, and the song that provides the boys vs. girls rap dance showdown. Kid nervously performs "Fun House" in jail to the inmates to keep them from attacking him.

Trivia: This movie was such a hit in 1990, it inspired five sequels to date, three of which featured Kid n' Play. 

Robin Harris improvised most of his dialogue, including the monologue over the credits where Kid's father punishes him with a strap for all the trouble he caused.

The party sequence really was filmed at Play's real-life home in Los Angeles.

House Party was originally offered to DJ Jazzy Jeff and the Fresh Prince.

What I Don't Like: Did I mention how of-its-time this movie is? Let's begin with almost none of the high schoolers were actually teens. Play was pushing 30 by the time this came out, and Lawrence and Kid were in their mid-20's. Kid's passable, but the other two don't look anywhere near their teens. Second, a lot of the jokes and gags plain haven't dated well, from the treatment of its female characters to the sequence under the credits when Harris gives Kid his beating. (Granted, we don't actually see it, and what we do hear is so over-the-top it's almost hilarious, but it's still not something they'd get away with today.) Third, Kid n' Play themselves are barely remembered for anything besides the House Party franchise nowadays, and they lack fellow rapper Will Smith's charisma and acting abilities.

Oh, and heed the R rating. Heavy swearing, violence, and sexual situations makes this absolutely not for young rap lovers. 

The Big Finale: Dated but still funny, with some darn good music if you're a fan of the more upbeat and comic rap from the late 80's and early 90's.

Home Media: Easily found on DVD and streaming, often bundled with its sequels. 

DVD - 4 Film Favorites: House Party Collection

Amazon Prime

Animation Celebration Saturday - The Trumpet of the Swan

Tri-Star, 2001

Voices of Dee Bradley Baker, Jason Alexander, Mary Steenburgen, and Reece Witherspoon

Directed by Richard Rich and Terry L. Noss

Music and Lyrics by various

Richard Rich still had swans on the brain in the early 2000's. The Swan Princess wasn't a hit in the theaters, but it went over far better on home video. It was such a success, he's directed nine direct-to-home-media sequels to date. The 1973 Charlotte's Web was also a surprise hit on video in the 90's and a live action Stuart Little was a smash in 1999, which prompted studios to look at adapting other E.B White stories. How does this version of how a mute trumpeter swan gains a voice and a mate look in animation? Let's begin on the pond, as Father (Alexander) and Mother (Steenburgen) Trumpeter Swan are about to hatch their children, and find out...

The Story: The youngest member of their brood, Louis (Baker), is born without a voice. His father is horrified. How will he be able to communicate or attract a mate? Louis turns to his human friend Sam Beaver (Sam Gilfaldi), whom he met when he went to summer camp by his lake. Louis wants to tell the pretty swan Serena (Witherspoon) how much he loves her, but she can't understand his wing signals. Sam takes him to his class, where he learns to read and write.

That allows him to communicate with humans, but swans can't read. Worse yet, he learns his father stole a trumpet from a store so he could communicate through music. Determined to make money for his father to pay the angry store owner back, he flies off first to Boston, then to Philadelphia. He becomes a success...but he never forgets his Serena, or his father. He's got to get back to the lake in Montana, before Serena marries the boorish male swan Boyd (Seth Green). 

The Animation: The detailed backgrounds are where it's at. There's a lot to look at, both in the stunning wilds of Montana and in the more colorful cities where Louie earns his money. The characters are a more obvious reflection of the low budget. The swans look alike, with only the feathers on their heads or cheeks setting them apart from one another. There's continuity problems, too. The trumpet in particular keeps changing color, from silver to gold and back again. 

The Song and Dance: I'm surprised they got such an A-list cast for a relatively small film. Carol Burnett also has a small but fairly funny part as Sam's teacher who decides Louie will be their class science project - this was her first animated film. There's also Corey Burton as a squirrel who behaves like a politician and is one of two squirrels who help save Louie from his sleazy manager Monty (Joe Mantegna). 

Favorite Number: We open with Father Swan singing about how he thinks his children will be the "Spittin' Image" of him. Mother Swan just wishes he'd quit playing with their eggs! "Louie, Louie, Louie" is performed by Little Richard and the chorus in the background in Boston when Louie's music takes the town by storm and is later heard over the credits. "Hey, Hey" is the number for the girl swans with Serena, including Louie's sisters Billie (Melissa Disney) and Ella (Elizabeth Daily). "Touch the Sky" is another background number, this one performed by Kenya Hathaway as Serena and Louie glide together among the clouds in the finale. 

What I Don't Like: First and foremost, this doesn't have much to do with the book it's based on. Sam was the one who realized Louie was mute. Like Fern in Charlotte's Web, he spent far more time with the swans and other animals at the pond than what's shown here. Sam's role is basically cut down to taking Louie to class. This is likely to play up the romance between Louie and Serena, but I'd rather see Serena ending up with him in the Philadelphia Zoo and getting out with Sam's help than the cliched romantic triangle. Boyd wasn't even in the book originally. Alexander waaaaay overdoes it as Louie's drama queen of a father, to the point where he gets really annoying. 

The Big Finale: The cast keeps this from being flat-out terrible, but it's nothing special, either, and will be especially disappointing for fans of the book. Only for major fans of the cast or someone looking for rainy-day background noise for young elementary schoolers. 

Home Media: Easy to find on DVD and streaming. The DVD often turns up for under $5; it's currently streaming for free at several sites.

DVD

Tubi

Juke Joint

Sack Amusement Enterprises, 1947

Starring Spencer Williams, July Jones, Inez Newell, and Dauphine Moore

Directed by Spencer Williams

Music and Lyrics by various

We switch gears from celebrating winter to celebrating Black History Month with a movie made by one of the true unsung characters of American film. Williams came to Hollywood in 1923 after a stint in Mexico and France during World War I and doing intelligence in France. He's best-known today for playing Andy in the early 50's Amos & Andy TV show, but he started out doing sound shorts for segregated theaters with black audience in the late 20's. After tries at other jobs during the Depression, his script for a "race movie" horror film and his appearances in several black westerns brought him to the attention of Alfred N. Sack. His Texas Sack Amusement Enterprises produced and distributed "race films." After the success of Williams' religious fantasy The Blood of Jesus, he contracted Williams to make more movies for him, of which this is the last. How well does this tale of two con men who help a girl prove she's beauty contest material work today? Let's start with those two guys on the road and find out...

The Story: Bad News Johnson (Williams) and his buddy July (Jones) drive into Dallas, Texas with only two cents to their names. They convince Mama Lou Holiday (Newell) that they're acting teachers from Hollywood under the name Whitney Vanderbilt and Cornbread Green who will exchange room and board for teaching her daughter Honey Dew (Moore) social graces. She's hoping Honey Dew will win a big local beauty contest and get to Hollywood herself. Meanwhile, Honey Dew's sister Melody (Melody Duncan) just wants out of town by any means necessary.

The Song and Dance: Not much song here. It's mainly dance and comedy, and admittedly, they both deliver pretty well. Williams and Jones have natural chemistry together and some very funny lines. Newell is hysterical as the tough-minded matriarch who keeps the rest of the family under her thumb, including her shiftless husband Papa Sam (Leonard Duncan). Stylish Melody Duncan comes off the best of the younger woman as the determined and intelligent young woman who wants out from under her mother's domineering rule yesterday. 

Favorite Number: The big - and really only - number is admittedly a lot of fun. There's a jitterbugging contest before the big beauty show, and it's pretty darn awesome. I'd give the entire crowd an award. They're all jumping and jiving and having a terrific time swinging around to the hot instrumental music. 

Trivia: Was considered a lost film until it reappeared in Texas around 1983. 

What I Don't Like: This is an independent B movie made in the late 1940's. First of all, despite being billed as such, it's barely a musical. There's one major number and not much else. Second, it's pretty easy to tell how long this was lost. The copy at Tubi is in horrible shape, just barely watchable. Wish someone would take a crack at restoring these movies. This is history, too, and it's as important as what came from Republic or Monogram at that time. Third, a lot of the dialogue is terribly stiff, the acting isn't much better, and the sets and costumes all too plainly show their low-budget origins. 

The Big Finale: Worth checking out at least once if you're interested in the history of black cinema, Williams, or looking for something different to kill an hour with on streaming and can get around the terrible shape the copies currently circulating are. 

Home Media: It's in the public domain, so it can be found pretty much anywhere. Tubi currently has it for free with ads.

Tubi