Watermelon Man

Continuing to review African-Americans in film in chronological order for Black History Month, we're still in 1970 when director Melvin Van Peebles makes his first major studio feature having previously done a critically acclaimed independent one called Story of a Three Day Pass. He casts comedian Godfrey Cambridge as Jeff Gerber who we initially meet as an obnoxious white insurance man-along with wife Althea (Estelle Parsons) and their two kids of different genders-who likes to run when leaving for his job in order to beat the bus. By the way, the light-skinned makeup on Cambridge is about as convincingly white on him as it was on Eddie Murphy in the "White Like Me" short film he did on "Saturday Night Live", that is, not much. Anyway, when the change comes, well, that's when all hell breaks loose! Now, knowing what I know about ironic humor concerning stereotypes, I found the whole thing just a little over-the-top and, you know what? I also found the whole thing hilarious! I mean, how can you not laugh at the attempts Godfrey keeps making to turn himself "back" like drinking lots of milk or putting his face in plaster. Plus, there's many funny sudden turns from now-"brothers" like the bus driver played by D'Urville Martin who claims to be Hispanic or Mantan Moreland as the counterman at his regular eatery who, when asked to look at his skin, says, "I don't need to look at your skin, I can see my own!" And wait till you see how Three Stooges regular supporting player Emil Sitka reacts when he gets attacked by Jeff over some new sunlamps! Not to mention Jeff's bed scenes with a flirtatious secretary named Erica (Kay Kimberly). I think I've said enough so all I'll say now is that Van Peebles provides much funny stuff from Herman Raucher's script in addition to his own contributions with his occasionally distorted score. So on that note, Watermelon Man comes highly recommended. P.S. It's quite interesting seeing who's also in this movie besides those I've already mentioned like singer/songwriter Paul Williams-here credited with the middle initial H-as an employment clerk or a young girl named Erin Moran-later to portray the teen Joanie Cunningham on "Happy Days"-as daughter Janice Gerber.

Melvin Van Peebles' big Hollywood film is a very smart, funny, and in the end tragic satire of race relations in America c. 1970. Today, it doesn't get nearly the hoopla that "Sweet Sweetback" does, but in a lot of ways it's a better movie. Biting satire is often a better way to express righteous anger than simply getting all righteous, and this is an example: under the laughs, this is a deeply angry film.

Godfrey Cambridge is magnificent in his two-tone role, and the supporting cast (including a couple of routines by the great Mantan Moreland) is also very fine. The rage underpinning the whole story doesn't find full, overt expression until the very last scene, which presages Van Peebles' leap into more obviously black revolutionary politics in "Sweetback." A very good, very funny, important film that deserves to be much better known today than it is.

"Watermelon Man" might throw off quite a few people with its style of cinema. It's a work of the grandfather of American independent film, Melvin Van Peebles, and with that should come a certain measure of respect. Van Peebles may not have produced dozens of films, but he certainly turned the industry on its head 30 years ago. This is an interesting arrangement on the business side- hot off the European success of "The Story Of A Three Day Pass", Warner Brothers takes on filmmaker Van Peebles for a feature film. The story of Van Peebles versus the company in filming is a conte in itself, but the film remains poignant and striking in its cinematography and theme. Aggressive editing of both film and musical inserts highlight the subtle comedy and pure desperation of the story of a bigot who wakes up Black and watches the world turn against him.

It's something of a manic ride, but Cambridge gives it all the human character it can stand. His antagonist-cum-protagonist role gives you 360 degrees of frustration and forced humility. Van Peebles presses the more unreal moments into a sub-psychedelic form. Printed messages, color fills, choppy eye-effecting shots and that insistent score remind you that this absurdity is all too real. But ongoing themes such as "He stole something.. we don't know what yet," are darkly hilarious as is Cambridge's sharp wit.

"Watermelon Man" is serious film that will still make you laugh at times. This is not the kick-in-the-establishment-a** that "Sweetback" is, but it's an important step on the way. Alongside films such as "Cotton Comes To Harlem" (also with the superb Cambridge) and "Putney Swope," this is an important part of the early end of the Black film explosion.

Look for cameos by songwriter-actor Paul Williams as an employer and Melvin Van Peebles himself as a painter. Black cast staple (and director of "Dolemite") D'Urville Martin is also on hand as a bus driver in some of the film's funniest scenes.

I first saw this film on television about 7-8 years ago. It was part of a "Heritage Network" movie special. This was hosted by Ruby Dee and Ossie Davis. I fell in love!!! I had to own this film!!! How much were they holding the film hostage for???? $20 dollars??? $100 dollars?? And so I waited for a few years. My father would keep saying to me "Aren't you going to buy that movie?" I'd say "Yeah Soon", but just didn't want to cough up the cash for it. Then it finally arrived on DVD in 2004 or so. I purchased it at Media Play. And I have watched it several times. I think that it's ahead of its time. Godfrey Cambridge plays a very disciplined white man with a nice white family. He puts on his sneakers and runs down the hill as exercise racing with the bus. Just the like the Yuppies of the 80's that wore sneakers to work then changed shoes. He was doing this in 1969.. He was an insurance man and he believed in exercise, family, all the values that this country was raging against in 1969. Then he wakes up one day and is black. All the showers in the world can't wash off the color. His whole universe changes. Some for the worse, some for the better. I have a whole new respect for Godfrey Cambridge from this film. A highly intelligent man in real life, Godfrey lets this shine through in this film. Especially poignant is when he is selling insurance to young black families. He talks straight to them, and doesn't patronize them. You will see this in the film. No hard sell, No baloney. Another tidbit that you will find interesting is that the house interior they used is the same one that they used for another famous television family.....THE PARTRIDGE FAMILY!!!!!! There is a small barely audible directors commentary with the film, and you have to listen carefully to really understand it. Seems that the film company did not treat Mr. Van Peebles very nicely. And I am putting this nicely as i can. Anyway it's a gem of a movie!!!!

First - WHO's Godfrey Cambridge?!?! Yeah - he was a comedian. And a VERY funny one. Sigh.

OK, now that I've said that, let me make a couple of things understood. A lot of people who've written comments about this are either too young to remember the 60's/70's or are trying to relate to this film from today's perspective.

This film was written/directed by Melvin Van Peebles, who - at the time - was (and, by some - unfortunately) considered a 'controversial (black) artist. Second; yes, the makeup is not as good as the wonderful job done on Eddie Murphy in various films/skits, or the Wayans' brothers, but - for the make-up tech of the day - it was VERY good (look at the scene in the beginning when Godfrey's exercising (naked!), and then going to the shower. I just watched it on HD, and it still holds up VERY well (and as an aside; I saw this film first when I was about 10 - on TV. I thought upon seeing it that REALLY was a white man who became black. So, just remember that while you might not think his make-up's up to snuff now, it sure did convince an earlier generation).

Understanding when this film was made, the 'situation' of race relations at the time, and the ability for a (black) artist like Mr. Van Peebles to MAKE this film is necessary in understanding how shocking this film was - in all those areas.

Yes - the film's a bit dated (but who isn't?). But watching this film - and understanding what I've just explained makes it all the more extraordinary. Alex P (miskatonic86), and Definitedoll (just to name a couple) are some of the few who understand this film's importance.

Mr. Cambridge is/was one of the best comics. His 'babbling' - or more accuratley, his riffing on a subject was part of his stand-up style (if you'd like to see Godfrey not as a 'babbling' person, but as a (slightly ominous - and funny) character, check him out in THE PRESIDENT'S ANALYST, or in COTTON COMES TO HARLEM. , amongst other appearances.

He's sorely missed, by me and many others who've seen him either on such shows as ED SULLIVAN, THE MERV GRIFFIN SHOW CAR 54 WHERE ARE YOU, THE DICK VAN DYKE SHOW, I SPY amongst MANY other shows. If not, you can see this huge talent's work on YouTube (YouTube's a GREAT resource for educating yourself about not current performers and artists. It's NOT just a place to look at ...cat's playing pianos, and other garbage).

As a glimpse (by a black artist!) into the 'white man's world,' and the world in general - at that time - Mr. Van Peebles should be given his deserved recognition (and Godfrey, we miss you!).