How to Get the Man's Foot Outta Your Ass (2003)

Director:

Mario Van Peebles

Writers (WGA):

Melvin Van Peebles (book)
Mario Van Peebles (screenplay) ...

Release Date:

17 March 2005 (Australia)

Genre:

Biography | Drama

Tagline:

A father. A son. A revolution.

Plot:

Mario Van Peebles's half documentary/half homage to his father Melvin's 1971 film, Sweet Sweetback's Baadasssss Song.

Plot Keywords:

Filmmaking | Prejudice | 1970s | Father Son Relationship | Punctuation In Title

Awards:

3 wins & 10 nominations

Cast

  (Cast overview, first billed only)

Mario Van Peebles	...	Melvin Van Peebles
Joy Bryant	...	Priscilla
T.K. Carter	...	Bill Cosby
Terry Crews	...	Big T
Ossie Davis	...	Granddad
David Alan Grier	...	Clyde Houston
Nia Long	...	Sandra
Paul Rodriguez	...	Jose Garcia
Saul Rubinek	...	Howard 'Howie' Kaufman
Vincent Schiavelli	...	Jerry
Khleo Thomas	...	Mario
Rainn Wilson	...	Bill Harris
Karimah Westbrook	...	Ginnie
Len Lesser	...	Manny & Mort Goldberg
Sally Struthers	...	Roz

Also Known As:

Baadasssss! (USA) (new title)
Badass (USA) (alternative title)
Gettin' the Man's Foot Outta Your Baadasssss! (USA) (new title)

MPAA:

Rated R for pervasive language and some strong sexuality/nudity.

Runtime:

Canada:108 min (Toronto International Film Festival) | Argentina:108 min | Australia:109 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Iceland:12 | USA:R | UK:15 | Canada:18A | Argentina:13 | Australia:MA

Filming Locations:

Los Angeles, California, USA

Company:

Bad Aaas Cinema

Trivia:

Troy Garity appears uncredited as the singer Donovan.

Goofs:

Anachronisms: Forty-seven minutes into the film, Van Peebles hands his lead actress a few fifties to be in his film and they are the new $50 bills.

Movie Connections:

References Shaft (1971)

Soundtrack:

I Wanna Touch Your Body

A must-see for anyone interested in film-making or screen writing

It's a real shame that mediocre indie films, such as "Open Water" and "Napoleon Dynamite," get tons of publicity while a gem like "Baadasssss!" goes unnoticed.

Director and co-writer Mario Van Peebles affectionately, but truthfully, chronicles a fictional telling of his father, Melvin Van Peebles' attempt to make "Sweet Sweetback's Baadasssss Song," modern black cinema's groundbreaking film, which was compulsory viewing for the Black Panthers and paved the way for countless black actors, filmmakers and film technicians. The Spike Lees, Ernest Dickersons, John Singletons and Wayanses owe a huge debt of gratitude to not only what Melvin accomplished 33 years ago, but also how he did it.

Mario Van Peebles' previous directorial efforts, "New Jack City" (1991), "Posse" (1993) and "Panther" (1995), showed potential, but were mired in clichés and turned out to be rather forgettable. That's not the case with "Baadasssss!"

This is an exciting, funny and moving film about one man's zeal to make the movie he wants to make. Melvin did not want to kowtow to studios and was fed up with how blacks were portrayed in Hollywood movies. So he set out to make a movie where the black man fought back, then went on the run and got away. And he did it with an ethnically diverse crew (which was unheard of then), many of whom knew little or nothing about movie-making.

"Baadasssss!" brilliantly illustrates Melvin's struggles, including pretending he was shooting a black porno film to hide his real intent from the crafts unions, running out of money, losing his vision in one eye and finding a distributor for "Sweet Sweetback."

Mario shows a deep sense of love and respect for his father's achievement. But Mario definitely doesn't sugarcoat his depiction of Melvin. The Melvin we see in this film is a driven, obsessive man who loves his friends and family deeply, but won't let anything or anyone stop his film, including the weekend jailing of his crew. Mario's reluctance about being forced to be in a "sex scene" in his dad's movie is one of the film's highlights. The moment works thanks to a nicely subdued and thoughtful performance by Khleo Thomas as the young Mario.

Mario Van Peebles and Dennis Haggerty penned a smart, energetic script. They add a nice undercurrent to the story by creating a father-son dynamic, which adds a layer of surprising depth to the story. Mario Van Peebles so completely immerses himself into the role of his father that we forget we're watching Mario play Melvin.

Where the script falters is in its over-reliance on voice-over narration used to to convey Melvin's thoughts. It works sometimes. But it also seems obtrusive. For instance, Melvin's thoughts about the contents of the props drawer aren't needed because we're smart enough to know how dangerous or funny it could have all turned out.

"Baadasssss!" is as much about Melvin's passion to make his influential film as it is about the importance of maintaining one's integrity. Just as Melvin didn't compromise his story, Mario, too, apparently held out and refused to compromise. Producers wanted him to make the film more acceptable to "a white audience" or toss in some hip-hop. But Mario didn't relent and made the film he wanted to make.

The paradox about this film about the making of a film is that while Mario's movie is technically and cinematic ally superior to Melvin's seminal film, "Baadasssss!" ultimately isn't as politically, socially or historically influential as the film it chronicles. Nevertheless, for anyone interested in movie-making, "Baadasssss!" is a must, along with the documentaries, "Hearts of Darkness: A Filmmaker's Apocalypse" (1991) and "Visions of Light: The Art of Cinematography" (1992). "Baadasssss!" is one of the best and most enjoyable films ever made about film-making.