Starring Richard Pryor, Kim Weston, Ted Lange, and Issac Hayes
Directed by Mel Stuart
Music and Lyrics by various
We celebrate Martin Luther King Jr. weekend with this look at a classic concert film. This was a benefit organized by Stax Records in 1972 for the impoverished Watts neighborhood of Los Angeles to honor the 7th anniversary of the riots that devastated the community in 1965. Stax brought in the biggest stars in their roster, including actor Issac Hayes, who had just had a massive hit with the first Shaft film. How does this celebration of a place and time where the black community was at a crossroads look today? Let's begin with Richard Pryor introducing what we're about to see and hear and find out...
The Story: Pryor hosts and adds his own comments as the Wattstax concert in the Los Angeles Memorial Coliseum is intercut with scenes from Watts, its vibrant streetscapes, and the Watts Summer Festival that commemorated the riots. We get to see the concert from the building of the stage to the very last song, and how much the music and their community meant to the people of Watts, even after the events that destroyed much of the neighborhood.
The Song and Dance: Great music by a nice variety of gospel, R&B, rock, and jazz artists anchors this look at how a community can still thrive, even in the wake of tragedy, upheaval, and revolution. It's interesting to see the comments from all of the people in the streets and cafes, and how well they compliment and contrast to the songs being played in that massive stadium. Look for Ted Lange, who would play Issac the bartender on The Love Boat five years later, among those discussing their feelings for the riots, Watts, and black culture in the early 70's.
Favorite Number: Our first song after an audience-rousing speech from none other than Jesse Jackson is "Whatcha See Is Whatcha Get" by the Dramatics. The group the Staple Singers have three songs - the best is the rousing "Respect Yourself." Kim Weston gets patriotic with "The Star Spangled Banner" and encourages the audience to "Lift Every Voice and Sing." Jimmy Jones lends his velvet voice to "Someone Greater Than I," while the Rance Allen Group throw themselves into the more dynamic "Lying on the Truth."
The Golden Thirteen sing of that "Old Time Religion" while we see scenes from a choir at a real church in Watts performing the number as they remind us how important religion is to much of black culture. The audience almost literally goes wild for "Peace Be Still" by the Emotions. The Bar-Kays, with their huge white Afro wigs and chain costumes, get their funk on for "Son of Shaft/Feel It." Albert King insists "I'll Play the Blues for You," while Little Milton takes us into the night with "Walking the Back Streets and Crying" beautifully shot against a flickering bonfire.
The men on the streets discuss the origins of Johnnie Taylor's "Jody's Got Your Girl and Gone" before he comes in with a searing performance of the tough R&B number. Mel and Tim's "I May Not Be What You Want" is a far sweeter ballad that covers a montage of couples throughout Watts falling in love and being together. Lovely Carla Thomas admonishes us to "Pick Up the Pieces," while Rufus Thomas shows off his vibrant pink threads before "The Breakdown" and encouraging everyone to "Do the Funky Chicken" in a performance that's so electric, the entire sold-out stadium dances along. We finish with two very different jazz artists. Luther Ingram purrs "If Loving You Is Wrong (I Don't Want to Be Right)" while Issac Hayes performs his smash hit "Theme from Shaft" and ends the film with "Soulsville."
Trivia: MGM objected to the use of "Theme from Shaft" and "Soulsville" when the movie debuted. The replacement ending had Hays singing "Rolling on a Mountainside" on a Los Angeles soundstage. This is now replaced by the original ending on most existing prints. "Rolling" is apparently included as an extra on the DVD.
Stax Records insisted that the security force and film crew be entirely African-American.
Little Milton, The Emotions, Luther Ingram, and Johnnie Taylor had to bow out of the concert. Ingram's performance was shot on a soundstage. The other three were filmed at various spots throughout the city.
What I Don't Like: This is not for young R&B fans. There's a lot of rough language and racial epithets, as per the time and setting. While there's no actual violence shown, it is discussed, including what kicked off those riots. There's also some light-hearted references to relationship abuse that wouldn't be taken as a throw-away joke today. Also, this could do with some restoration. The print currently at Amazon Prime is grainy and a bit washed-out, especially in the scenes with the men talking.
The Big Finale: A terrific concert and a piece of black history that's well worth your time for fans of classic R&B, rock, jazz, and gospel, or for those who remember when a record company brought out the best to help a community celebrate its recovery from tragedy.
Home Media: Easily found on streaming and DVD
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