), which sees Van Peebles walking the streets of Paris and in his apartment giving us his words of black wisdom and thoughts on the film (22 minutes); a straight forward talking head documentary of Van Peebles talking about his filmmaking career (23 min.). The film works best when it follows Sweetback's odyssey from stud boy to proto-nationalist consciousness. Women appear in the movie largely to facilitate its many sex scenes, most of which were reportedly unsimulated. I'm talking about Sweet Sweetback's Baadasssss Song. side by side with an NYPD officer and an FBI analyst. His son Mario Van Peebles also appears in a small role, playing the title character as a young boy. In 2020, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". closely tied to the civil rights movement in the U.S. Coming out during the peak of racial unrest and the Civil Rights movement and the rise of Black Power, the film would expectedly divide critics, black and white. Which is why the production history of the film, duly noted in several articles and covered in the wealth of special features on the BD/DVD, makes for some fascinating stories. Daniel J. Leab. In 1971, Hollywood had hit a crossroads. As the police trawl black areas for him, they find Sweetback's biological and rather confused mother, who reveals that his birth name is Leroy. These early films, DIY by necessity but with a flair for the avant-garde, brought Melvin to Paris on an invitation from the Cinmathque Franaise, where he began homeless and sang for money but ended up a successful investigative journalist writing in French. [32] The film was credited by Variety as leading to the creation of the blaxploitation genre, largely consisting of exploitation films made by white directors. Volume 90% 00:00 1:37:40 Sweet Sweetback's Badass Song - Full Movie by Melvin Van Peebles Publication date 1971 Topics erotic movie, milf, culture Language English After saving a Black Panther from some racist cops, a black male prostitute goes on the run from "the man" with the help of the ghetto community and some disillusioned Hells Angels. The most controversial scene is the early flashback scene where a young Van Peebles (played by his own 13-yeard old son, Mario Van Peebles) is coerced into sex by a prostitute. Despite its experimental form, Van Peebles was fully capable of more conventional filmmaking, having made two earlier features: The Story of a Three-Day Pass, which he adapted from his own French-language novel, and Watermelon Man, a Columbia Pictures production. blaxploitation independent cinema melvin van peebles, Blood-Spattered Brides: Female Vampires and Male Anxieties in European Erotic Horror Cinema, It belongs to you and your fellow passengers alone: on, Zones: Post-industrial aesthetics and environments after. Sweetback tells the story of a sex-show worker, nicknamed "Sweet Sweetback" for his sexual prowess, who is taken into custody by two LAPD officers as a fall guy, with promises to be released the following day. During production on Watermelon Man for Columbia Pictures, Van Peebles attempted to rewrite the script in order to change it from a comedy poking fun at white liberals into the first black power film. In another review, Riley explained that "Sweetback, the profane sexual athlete and fugitive, is based on a reality that is Black. I didnt get the big picture until later, he said, noting that he later found out his father received death threats as a result of the production. To make up for the missing time, the film's opening scene in which a very young Sweetback (then played by a naked Mario Van Peebles, the director's son) discovers his sexual prowess at age . Sweet Sweetback's Baadasssss song, went further than any American film to that point. Van Peebles projected scenes from the film as the band performed the music. In the film Melvin Van Peebles plays a black gigolo nicknamed Sweetback for his sexual prowess and legend has it that some of the scenes featured non-simulated sex (maybe those scenes where there was a union visit?). To his credit Mims does not gloss over the problematic aspects of the film, like the representation of the women and the sex scene with 13-year old Mario Van Peebles. An added audio is an informative feature-length commentary with film historian Sergio Mims, who contextualizes the film in relation to both the industry and broader cultural trends, while adding a personal touch, having interviewed Van Peebles on a few occasions. Superfly, released the following year, enlisted Curtis Mayfield, whose soundtrack album was one of the few in history to outgross the film it accompanied, becoming one of his most iconic releases. Realising he will cross the border before they reach him, a policeman releases the dogs, expecting them to catch and kill him. but I think even an all white movie would have gotten an X with that as it's opening scene . Towards the end of this scene, a cut shows the adult Sweetback (whom we have already seen running down a street in the image accompanying the opening dedication) in bed with the same woman. [7], Van Peebles had received a permit to set a car on fire, but had done so on a Friday; as a result, there was no time to have it filed before shooting the scene. In 1968, following the assassination of Dr. King, James Brown was under pressure from Black activists and, after numerous talks with the Black Panther Party, he released "Say It Loud, I'm Black & Proud," which became the iconic anthem of Black power. Film critic Roger Ebert cited the ending as a reason for the film not to be labeled as an exploitation film. Daily Headlines covering Film, TV and more. Van Peebles began to develop the film after being offered a three-picture contract for Columbia Pictures. And it is mischievous and reactionary finally for anyone to suggest to black people in 1971 that they are going to be able to screw their way across the Red Sea. One of those ladies takes his cherry. He speaks very little throughout the movie. Sweetback Loses His Virginity in Sweet Sweetback's Baadasssss Song (Melvin Van Peebles, 1971) Considering Melvin Van Peebles actually performed most of the sex acts he's seen engaged in in. It's a captivating piece on culture and society that harms itself as much as it attempts to blossom. Flashback To 1971 Discord Over Sweet Sweetbacks Baadasssss Song. Indiewire, May 22, 2012. Four days after Melvin Van Peebles' death, his son joined NYFF to salute his father's iconic "Sweet Sweetback's Badasssss Song. As an adult, Sweetback performs in the whorehouse sex show . Like the way he decided to use a crew made up of non-professionals and porn film technicians to circumvent union rules against the use of non-professional crew members (many of whom were black). Before it became the soundtrack to rooftop bars and fast-food ads, soul music was closely tied to the civil rights movement in the U.S. This performance then cuts away to the same woman on a stage singing and gyrating her body, with her voice replaced by blaring music. ", "Panther," director Mario Van Peebles with father/writer Melvin Van Peebles on set in 1995, GramercyPictures/Courtesy Everett Collection. The women name him "Sweet Sweetback" in honor of his sexual prowess and large penis. They told him, You cant even print that in the newspaper, Mario said. When police hear he might be at a rural hippie musical event, he successfully disguises himself by simulating sex in the bushes. by thekylemarshall Sweet Sweetback's Baadasssss Song (1971) Because a bunch of films will be celebrating their 50th anniversary this year, I thought I'd watch films from 1971 over the next few months and offer my thoughts in the hope to spur more discussion. Van Peebles knew that gaining financing for the film would not be easy and expected "a great deal of animosity from the film media (white in the first place and right wing in the second) at all levels of filmmaking", thus he had to "write a flexible script where emphasis could be shifted. "[9], The film's fast-paced montages and jump cuts were novel features for an American movie at the time. Van Peebles did not have money for traditional advertising methods, so he released the soundtrack album prior to the film's release in order to generate publicity. It's about another film, released earlier in 1971. It is in this disenfranchised community--and not the sterile offices of the NAACP--that he seeks and finds refuge. The opening moments alone . To order the film go to the Vinegar Syndrome website. The opening two minutes of the film portray (spoiler alert!) "[33], Robert Reid-Pharr wrote that "[Sweetback] was seen (correctly I believe) as the first in a long line of so-called Blaxploitation features" and goes on to say that Van Peebles was "one of the first artists to bring not only compelling but realistic images of Black Americans into mainstream cinemas, breaking with decades-long traditions "[34], In 2004, Mario Van Peebles directed and starred as his father in Baadasssss!, a biopic about the making of Sweet Sweetback. : Roots of the Baadasssss Tude (Rated X by an All-Whyte Jury), he gives Van Peebles his due by opening his book with an interview with Melvin Van Peebles, appropriately titled Melvin Van Peebles: Original Guerilla. Van Peebles found out that someone had put it in the prop box. It is not without some merit that Sweet Sweetback's Baadasssss Song credits "the Black Community" in its opening scene. [11], Since Van Peebles did not have the money to hire a composer, he composed the film's music score himself. St. Jacques starred in Change of Mind (1969, Robert Stevens), which recounts a story where the brain of a liberal white southern man dying of cancer is put into the body of a black man, foreshadowing Get Out which featured the same body-brain switching idea. One night, Sweetback (as played by the adult Van Peebles) is performing in a sex show for customers at the brothel when two white cops come in to question his boss, Beetle ( Simon Chuckster ). The vinyl edition features audio remastered from the original analog tapes and cut on the original Stax lathe at Memphis Ardent studios, then pressed on 180-gram vinyl at Memphis Record Pressing. Director Melvin Van Peebles Writer Melvin Van Peebles Stars White folks saw the peace and freedom movement reflected a little bit from films like Easy Rider, but we didnt have that, Mario said. They grab and beat him violently, then, holding his bloodied face up to the camera, an off screen voice says, Its not him, to which another voice nonchalantly responds, So what. One day, Van Peebles drove into the Mojave desert, turned off the highway, and drove over the rise of a hill. The opening scene happens to be very revealing and striking. But you wont bleed me) . To finish the post production of the film Van Peebles had to borrow $50,000 from Bill Cosby. Sweet Sweetback's Baadasssss Song (soundtrack), "Sweet Sweetback's Baadasssss Song, Box Office Information", "Videodrome: Sweet Sweetback's Baadasssss Song (1971)", "SWEET SWEETBACK'S BAADASSSSS SONG: A Blaxploitation Classic That Remains All Too Relevant Today". It may seem strange to begin with the other Black-led movie of '71, but looking at the two together, their receptions and continued legacies, reveals a lot about the dynamics of race and anti-racism in Hollywood and the major studios' monolithic influence over collective memory. Mario would later go on to write, direct and play his father in Baadasssss, a movie about the making of Sweetback. From the opening scene, which makes for very uncomfortably viewing, sex is never on Sweetback's own terms. The sordid sexual trysts, the faux fantasies in the desert are, finally, less interesting than Sweetback's quest for self-realization. He was very firm that he wanted the film crew that looked like America., Mario said he often turned to his father for advice. The camera is relentless in its restlessness, full of whip pans, zooms, and abrupt hand-held movements. "FILM VIEW; Sweet Sweetback's World Revisited", "Blaxploitation: Funk Goes to the Movies", "American Cinematheque Sets Melvin Van Peebles Tribute: The event, beginning today at the Directors Guild, will celebrate the man, the artist and his movies", "In the early '70s, blaxploitation upended Hollywood stereotypes", Melvin Van Peebles's oral history video excerpts, https://en.wikipedia.org/w/index.php?title=Sweet_Sweetback%27s_Baadasssss_Song&oldid=1162594383, This page was last edited on 30 June 2023, at 02:40. This was an example of how to make a film (a real movie), distribute it yourself, and most important, get paid. Television was the medium of the moment, while public taste for musicals was at an all-time low, and America's film industry was on the verge of bankruptcy. We may not want him to exist but he does." The musical score of Sweet Sweetback's Baadasssss Song was performed by Earth, Wind & Fire. In this regard, Melvin Van Peebles film makes an interesting comparison with Spike Lees BlacKkKlansman, where a police officer is the hero. Published . Melvin financed the movie out of his own pocket (with a $50,000 loan from Bill Cosby) and decided to register the movie as a pornographic project so that he could have his own choice when it came to the crew. Stopping overnight at a seemingly abandoned building, they discover it is a safe house for the Hells Angels. A film that makes up a crucial part of the same story, though its place in that story is more ambiguous and more striking; one that topped Shaft at the box office on a fraction of the budget, but now, compared to Shaft's continued mainstream appeal, has gone the way of the dusty annals of cult movie history. On Wednesday, legendary filmmaking maverick Melvin Van Peebles died at the age of 89. Still queasy and just plain wrong, it would upset the son's case. Unlike the Horatio Alger-style integrationism propagated in past films about blacks, here we see an outlaw among outlaws, nourished by a community segregated from the mainstream. 1 as 'The Flash' Collapses by 73% and Jennifer Lawrence's 'No Hard Feelings' Opens to $15 Million, 'Superman: Legacy' Finds Leads With David Corenswet and Rachel Brosnahan, Ivanka Trump's Separation From Donald Trump May Be Complete Now That She's Dismissed From This Family Event, Cardi B Screams In Excitement As Offset, Quavo Put Feud To Bed For Takeoff Tribute, In Itsaso Aranas Directorial Debut Girls Are Alright, Actresses Take Over the Film, Taylor Swift Delivers Surprise Songs Evermore and Im Only Me When Im With You in Cincinnati, Boy Meets World Fired Young Actress For Not Being Pretty Enough, She Claims, Screen Actors Guild Extends Negotiation Deadline With AMPTP, Staving Off Strike, McIlroy, Spieth Ride Along as Troon Acquires Inviteds ManagementBiz, How to Pitch Stories and Articles to IndieWire. Sweetback meets up with Mu-Mu and black gangsters drive them through South Central Los Angeles to the outskirts. This was a film about a sex worker who goes from a we mentality to a me mentality., At first, Sweetback was only released in two theaters, in Detroit and Atlanta. When the police need a patsy for a murder in the black community . Van Peebles claimed the studio hastily rewrote the script following Sweetback's box-office triumph, though filming had actually begun in January, with Richard Roundtree already confirmed in the role. Nicholas Naber 10.4.07 Sweet Sweetback's Baadasssss Song is completely different from anything we have viewed thus far in our class. ). Peebles was the first American black man to direct a movie though it was French to be commercially released in the US: The Story of a Three-day Pass (1968), the success of which made Columbia studios seek out Van Peebles and eventually make The Watermelon Man. The music reflects the onscreen chaos, moments of dissonant free jazz convey panic, while tracks like "Come On Feet" up the tempo to a breakbeat-driven spring, as Sweetback once again is forced to run for his life. Her memories of being dragged to see Sweet Sweetback's Baadasssss Song (1971) by my father (of course) remain quite visceral, and I adore her attempt to sleep it away. To honor the late Melvin Van Peebles after his death last week at the age of 89, I am reprinting here Huey P. Newton's analysis of Sweet Sweetback's Baadasssss Song, written for the The Black Panther newspaper in June of 1971.The analysis stands as a supreme example of Newton's extensive reach as a writer and intellectual, and of the Black Panther Party's serious dedication to cultural . The bikers leave the men in their club to await a member of the all black East Bay Dragons who will get them to Mexico. Without Sweetback who knows if there could have been a [] She's Gotta Have It, Hollywood Shuffle, or House Party? (As an aside, I am reminded of the brutal beating of a black undercover detective by the Nicolas Cage character in the opening scene of Wild at Heart, and the death of Ned (Morgan Freeman) by the abusive, sadistic sheriff Little Bill Daggett (Gene Hackman) ). The love scene has been a part of cinema right from the beginning. Mojo WomanB3. And an interview with actress Niva Rochelle One Baadasssss Woman!, the woman from the yelling scene I described above (32 minutes). This was pre-MAGA, Mario said. Sweetbacks beating of the two cops is not a planned attack or a retaliation, but an act to defend the young black man in police custody who is being beaten for no reason. And it is mischievous and reactionary finally for anyone to suggest to Black people in 1971 that they are going to be able to screw their way across the Red Sea. Thats Blaxploitation! Two decades later, Martin Luther King Jr. would work its lyrics into his speeches, and not long after it was sung by over 50,000 attendees at his funeral. The women name him "Sweet Sweetback" in honor of his sexual prowess and large penis. With that our hero comes of age, raised in a whorehouse and forging his life skills-while plying his considerable physical endowment-in the sex trade. Fucking will not set you free. Working as a towel boy, he is seduced by one of the prostitutes. Leab outlines the importance of Jim Brown, who appeared in Rio Conchos (1964), The Dirty Dozen (1967) and The Dark of the Sun (1968). Things would change seemingly abruptly with the cycle of blaxploitation films that would run from 1971 to 1980. When he saw the rushes, Maxwell was overjoyed, and Van Peebles did not encounter that issue again during the shoot. Sweetback's character, too, is complex and quite hard to get a read on. After saving a Black Panther from some racist cops, a black male prostitute goes on the run from "the man" with the help of the ghetto community and some disillusioned Hells Angels. The eye-popping film made Melvin Van Peebles a pioneer of. Sweetback was also wounded in the shootout and both stows away and hitches rides on trucks and a train heading south. Van Peebles not only directed, scripted, and edited the film, but also wrote the score and directed the marketing campaign. Van Peebles, who'd gone from working as a child in his father's tailor shop on the South Side to studying literature on an art scholarship at Wesleyan, had self-taught filmmaking when he turned a book he'd written about his experiences as a railway worker into a movie, at the suggestion of an excited reader who found him at work on the tracks. In the opening scene, three young people, two men and a woman, dance by night in a darkly lit summer house to a record of, yes, "The . With time, he became more aware of the way the movie fit in alongside other iconoclastic American movies made in the same era. Sweetback is passive, too, in sexual encounters. The progression of Shaft reads something like a case study in the co-option of radical ideas by commercial interests, the films brought rapidly into the ideological mainstream at the same time as their production values skyrocketed. The film was a critical but not commercial success. The Shaft of 2019 resurrected itself as a buddy cop comedy created with a budget of $35 million, reprising Richard Roundtree as the aged original, along with Samuel L. Jackson as Shaft II and Jessie T. Usher as his son, JJ Shaft, a data analyst for the FBI. The success proved to Hollywood that black themed films could be profitable, which opened the door not only to the blaxploitation cycle, but for future black and independent filmmakers, from Julie Dash to Jamaa Fanaka to Charles Burnett to Spike Lee to Ava Duvernay to Barry Jenkins. Mellen's critique of his "inexhaustible sexuality" also seems misplaced. Sweetbacks ThemeB1. Images of empowered black men were rare in Hollywood up to 1970 (not discounting of course the hundreds of Negro Films made from the 1910s to the 1930s from such studios as Foster Photoplay Company, The Ebony Film Co., The George P and Noble Johnsons Lincoln Motion Picture Company, Oscar Micheaux Pictures, Spencer Williams Amegro Film, and the white run The Colored Players Film Association). approach when tackling the tense relations between Black people and the police. The film begins with Sweet Sweetback as an orphan boy being taken in by some ladies of the evening. Sweetback returns to the whorehouse for help, but Beetle refuses out of fear of being arrested himself. The crew working on Sweetback was majority non-white, at Van Peebles' insistence. There is no romanticism in Van Peebles' portrayal of the ghetto. Sweetback's violence is reactive, a momentary reflection of all the violence he, and the Black community portrayed in the film, has endured and absorbed. Published May 6, 2021 Updated Sept. 23, 2021 I don't think anyone who sees the title "Sweet Sweetback's Baadasssss Song" forgets it. Donato Totaro has been the editor of the online film journal Offscreen since its inception in 1997. The frame is never settled for very long, with camera flare outs, abstract solarisations, split screens, zoom in/outs and out of focus shots unsettling the viewer. And Sweetback was no simple vanity project. Sweetback is a wholly different sort of movie, by necessity cut off from the whitewashing influence of studio funding. Van Peebles used the money to purchase more film. Boston: Houghton Mifflin Company, 1975. by Donato Totaro A blend of midtempo funk with dissonant freeform jazz, musique concrte (wailing sirens, gunshots, disembodied voices, and ambient sounds weave in and out), choral gospel standards, and the occasional squealing psych guitarit occasionally breaks down into chaotic dissolution, but always snaps back into the impossibly tight groove the band would come to be known for. Simultaneously highlighting the violence faced by Black Americans by the police and leaving the law as the red-faced loser at the end, it's a film that could not have been made within the studio system. The production history is so colorful that it was the inspiration for a fascinating part-documentary, part-dramatized making of by his son Mario Van Peebles, Baadasssss! Film Reviews [9], Van Peebles knew that in order to spread his message, the film "simply couldn't be a didactic discourse which would end up playing to an empty theater except for ten or twenty aware brothers who would pat me on the back and say it tells it like it is" and that "to attract the mass we have to produce work that not only instructs but entertains". But the popularity of the film in those theaters lead it to find a life in wider release, where it ultimately grossed $15 million and was embraced by the Black Panthers. I asked him if hed do this film the same way. His secretary at the time was sleeping with a member of a then-unknown funk and soul group that had recently moved to L.A. from Chicago and were working on their first album, and persuaded him to get them involved. During the night, the club is raided by two policemen with drawn guns. More interesting is a Q & A with Van Peebles from the 2013 Black Panther Film Festival at the Maysles Center in Harlem (36 minutes). Check out this awesome Movie Reviews About Sweet Sweetback for writing techniques and actionable ideas. a sex scene between a prostitute and a 13-year-old boy named Sweetback (played by Peebles' son Mario ). Joan Mellen, in her book Big Bad Wolves: Masculinity in American Films, criticizes Van Peebles for "marrying [his] criticism of racial injustice in America to the myth of the inexhaustible sexuality of the Black male, refurbishing the old racist stereotype of the 'buck', the Black stud [Sweetback] is nothing more than an embodiment of how white society has fantasised Black sexuality.". Because he did not know how to read or write music, he numbered all of the keys on a piano so he could remember the melodies. 2023 IndieWire Media, LLC. Gotham Lays Off Longtime Awards Staff and Cancels Project Market, Im a Virgo: How an Early Meeting at Industrial Light and Magic Led to the Low-Budget Special Effects, Turner Classic Movies Needs a New Home, Not Just New Leadership, New York Film Festival Announces 2023 Dates, Personality Crisis: One Night Only Review: Scorsese Pays Tribute to the Ultimate New York Doll, How The Bear Cast That Iconic Family Dinner Scene, Jocelyns Choreography on The Idol Was Inspired by Bob Fosse and Went Viral on TikTok. Sweet Sweetback (Melvin Van Peebles) is a black orphan who, having grown up in a brothel, now works there as part of a sex show. [7], According to Van Peebles, during the first day of shooting, director of photography and head cameraman Bob Maxwell told him he could not mix two different shades of mechanical film lights, because he believed the results would not appear well on film. [35][36], In a 2019 reference book published by the Museum of Modern Art to commemorate key works of art in its collection, Anne Morra, Associate Curator of the department of film, says Sweetback's importance goes beyond the history of filmmaking and that its impact on "social consciousness, culture, and political discourse remains indisputable". The ensuing saga finds Sweetback constantly eluding capture as he sprints across a grimy American landscape riddled with racism and the alienating forces of an industrial society in which. Bennett argued that the film romanticized the poverty and misery of the ghetto and that "some men foolishly identify the black aesthetic with empty bellies and big bottomed prostitutes." The Stax 60 celebration will highlight the hits, deep cuts and rare tracks from the Memphis labels heyday of the '60s and 70s, including the many legendary artists who jointly created the world-renown Stax sound,\" - Otis Redding, Booker T \u0026 the MGs, Isaac Hayes, The Staple Singers, Carla Thomas, Rufus Thomas, Johnnie Taylor, Eddie Floyd, William Bell, Sam \u0026 Dave, The Dramatics and many more. "[16] It grossed $70,000 in its first week in Detroit. During this time he was immersed in the world of French New Wave cinema and eventually returned to L.A. after one of his films was picked up by and won the San Francisco Film Festival. While Sweetback opened the door, Shaft's score was written by Isaac Hayes, who had originally auditioned for the lead role, and made him the third Black American to win an Oscar, following Hattie McDaniel and Sidney Poitier, and the first Black composer to win Best Original Score and Best Original Song, for "Theme from Shaft," which also hit the top of the Billboard charts. In your face and surreal political satire about racism in America. The Vinegar Syndrome DVD/BD of Sweet Sweetbacks Baadasssss Song is a revelation. Seeing Mu-Mu's life is in danger, Sweetback uses his handcuffs to beat the cops unconscious. Van Peebles shot the film over a relatively short period of 19 days in order to reduce the possibility of the cast, most of whom were amateurs, showing on some days with haircuts or clothes different from the prior day. However, at the Tijuana River, Sweetback stabs the dogs and escapes into Mexico, swearing to return to "collect some dues". [7][8], Because Van Peebles could not afford a stunt man, he performed all of the stunts himself, which also included appearing in several unsimulated sex scenes. On the other hand, Ebert notes, "to one degree or another, all low-budget films are like this one, with cast and crew members bludgeoned into hard work at low pay in the service of the director's ego." Sweet back runs through most of the 2nd part of the movie. In the end, Sweet Sweetback's Baadasssss Song was made wholly . Move!" - it becomes evident that, despite his youth, he is regarded as something of a sexual athlete. This sets up the slim plot of the film, singular in its action, of Sweetback running (and there is lots of running in the film) and hiding to avoid the police who have been mobilized to track down this cop killer. We tend to see Blaxploitation in genre terms these days, as the sheer volume of movies following in the wake of Sweetback and Shaft led to an inevitable convalescence of ideas and tropes into an easily replicable formula. [4], The New York Times critic Clayton Riley viewed the film favorably, commenting on its aesthetic innovation, but stated of the character of Sweetback that he "is the ultimate sexualist in whose seemingly vacant eyes and unrevealing mouth are written the protocols of American domestic colonialism".
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sweet sweetback opening scene
