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user\nOver the many years, there are some films that just slip by & hardly anyone views.
Choose Conner is one of those films.
This small gem played at some festivals & had a short 2 week run in a small theatre in West Hollywood making all of about $ 5500.
It is now on DVD I do hope many more will now see this,.
It is a strange drama of a shrewd youngish politician, who influences a very bright 15 year old lad.This politico also has a handsome nephew (about 17 years old) who befriends the 15 year old lad.
The above paragraph is slightly vague as to what occurs, SO is the film, & that is what I appreciated, we do NOT get all the facts,Much is left to our own thinking. You will hear dialog that makes this logical..
Steven Weber (Wings) is our politician,his role is slightly vague,this is another point for the audience to ponder
Alex D.Linz is our 15 year old, He was about 17 when they made this movie, but easily can pass for younger. He has been in films & TV since he was a young child, He is a very good actor & is quite convincing.
Escher Holloway is the older teen, This role is his first major part & he too is excellent.
Now I am saving the best for last, the writer/director,
Luke Eberl is not yet 23 years old. For a first effort a big thumbs up. I do hope he as well as our 2 lads have a long career.
Ratings: *** (out of 4) 86 points(out of 100) IMDb 8 (out of 10)
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user\nI was amazed at the quality of this film, particularly after seeing pictures of the barely adult director - all 140(?) lbs of him! Truly, a boy directing a movie about a boy. I look forward to seeing more Luke Eberl films.
I did think this one was a bit too long. There was too much time spent showing Connor being unsuccessful (and unwilling) to make a move on Owen. Caleb didn't try hard enough. Owen, being so young, could have easily become closer to Caleb and later decided it wasn't his preference. And Owen would still have learned the \"valuable lesson\" about corruption and politics. Instead, he didn't give himself a fair chance to learn about his sexuality. And what about poor Caleb? Owen could have been a good influence.
Though the film intends to show Owen as a hero who overcomes perverted corruption, I felt sad for Owen. He was offered the opportunity to have some boy-boy fun with Caleb, who was extraordinarily beautiful. Owen didn't have to go along with the political perversion as offered. But he could have tried to have some fun with Caleb, and still walked away when he wanted. It was clear that Owen was in charge - no one forced him to do anything he didn't want to do. But he could have had more fun, and with a very hot boyfriend, at that.
I hope Luke makes more movies where appealing young characters have more fun.
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user\nThe plot line is an expose of the under belly of American politics. While the theme seems common, what \"makes\" the movie is the unconventional way the story is told.
The characters are played with conviction. You feel the innocence of the lead, and his innocence lost. The politician is the prince of double-talk, a real snake.
The camera work is impressive. It affirms the nuances of the acting and dialogue. Ditto for the music.
The story uses a parable-style with vingettes where the message is filled with double-entendres. A very canny strategy by the writer/director. The tension in the storyline is carried through to the last scenes.
The movie was like a good mystery book. Something was \"afoot\"; you knew it was bad; you didn't know exactly what it could be - you had your suspicions; and when the evil was revealed you let out your breath you hadn't noticed you were holding in. Saddened, shaking your head.
A story well written and well told. 3 cheers to a young writer/director.
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user\nIn this election year, where so much idealism is attached to one of the candidates, it is poignant to watch a film that warns us not to make an idol out of anyone running for public office.
Luke Eberl is the writer and director of \"Choose Connor\". There are significant parts of the film that reveal that he is a 'genius' when it comes to telling stories via the cinema.
Go see this movie before the election and then ponder why and for whom you will cast your vote.
Let you eyes be opened like those of the young protagonist.
A mix of \"Citizen Kane\", \"Advise and Consent\" and \"Paths of Glory\" by a young director as talented as those who made the films listed above.
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user\nRififi deservedly gets a lot of mention for the famous heist scene, and, indeed, that scene deserves all the credit it gets. It's a masterful piece of suspense, character interaction and photography. But Rififi isn't just this one scene - every scene in the film is as masterfully put together, and as a whole, the film is not only taught with suspense, plot and character, but an adroitly told moral tale that set the scene for film noire for years to come.
Cinematically and technically, the heist sequence may be the most impressive scene of the film, but for me, it's the final scene that holds the most power - Tony le Stéphanois's hallucinogenic drive towards redemption.
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user\nRIFIFI (Jules Dassin - France 1955)
To me, it seems a very risky idea to attempt a Hollywood-remake of Jules Dassin's 1955 classic RIFIFI. Planned for release in 2007, Al Pacino apparently is gonna play the lead, taking on the role of Tony le Stephanois. Risky business... How they're gonna pull this off?
Ironically, Dassin was blacklisted in Hollywood and went on to try his luck in France and made this little masterpiece, aptly called by some \"The Grandddady of all caper- and heist movies\". In my opinion, it remains a one-of-a-kind classic, beautifully filmed with one of the most memorable endings ever to be put on film. Whatever one's opinion of the film.
In the last couple of years RIFIFI has become dangerously overpraised. Nevertheless, this French noir-classic shouldn't be forgotten. Go see it, before the remake is out there, in order to have some ammunition for comparing the two.
Camera Obscura --- 9/10
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user\nI see alot of movies at the cinema (103 so far this year) and I have to say that this is by far and away the best film I have seen this year, even though it was released back in 1954!
I sat in awe and watched this work of genius and felt quite ashamed that I had never even heard of it before my local art house cinema decided to show it for a week on what looked like a new print.
The best part of the whole movie has to be the 28 minute break in where there is no speech and no music, merely the sound of the men carrying out the heist. Pure quality.
Although really dark in places it is lightened with the dry humour.
Not many films score 10 out of 10 but this does and also gets a gold star for effort!!
If you ever get a chance to see this movie, please do not hesitate, it's a classic.

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user\nAfter five years in prison, Tony le Stéphanois (Jean Servais) meets his dearest friends Jo (Carl Möhner) and the Italian Mario Ferrati (Robert Manuel) and they invite Tony to steal a couple of jewels from the show-window of the famous jewelry Mappin & Webb Ltd, but he declines. Tony finds his former girlfriend Mado (Marie Sabouret), who became the lover of the gangster owner of the night-club L' Âge d' Or Louis Grutter (Pierre Grasset), and he humiliates her, beating on her back and taking her jewels. Then he calls Jo and Mario and proposes a burglary of the safe of the jewelry. They invite the Italian specialist in safes and elegant wolf Cesar (Perlo Vita) to join their team and they plot a perfect heist. They are successful in their plan, but the D. Juan Cesar makes things go wrong when he gives a valuable ring to his mistress.
\"Du Rififi Chez les Hommes\" is a magnificent film-noir, certainly among the best I have seen. The screenplay has credibility, supported by an awesome direction of Jules Dassin, stunning performances of the cast and great cinematography. Jean Servais has outstanding performance in the role of a criminal with principles guided by the underworld rules. The famous long silent sequence of the heist is amazing and extremely tense and certainly among the best ones of the cinema history. I am listing this great movie in my list of favorite movies ever. My vote is ten.
Title (Brazil): \"Rififi\"
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user\nThe minutiae of what's involved in carrying out a robbery is what makes this one of the best of all heist movies. Then there's the robbery itself, a wordless, thirty minute nail-biter that has never been surpassed, followed by what is probably the cinema's most pronounced example of dishonor among thieves as things begin to spectacularly unravel, and we have what is unquestionably the greatest of all heist movies.
This was a tough and unsentimental film when it first appeared in 1955 and it is just as tough and unsentimental today. (It displays some of the edgy brutality of Dassin's earlier \"Brute Force\"). There isn't a flabby moment or duff performance in the entire film and Dassin captures the milieu of seedy clubs and Parisian back streets like no-one else and the final drive through Paris by a dying man is one of the most iconic closing sequences of any movie. A classic.
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user\nThis film is a work of pure class from start to finish, for a moment forget the famous 28 minute no dialog heist, forget that it's set in Paris and forget it's Noir. The film itself, the premise and the execution make this a pure gold experience.. it's sharp intelligent and thought through in great detail, just like the heist itself. It portrays real characters that are not only believable but whom you empathize with. It's a film that doesn't glamorize the notion of a robbery but shows it for what it is.. theft. It shows that a heist is hard work and ultimately not worth doing. Now all things considered put on top of that a daring 28 minute sequence with not a word spoken and set in gorgeous Paris with truly great attention to detail and fantastic cinematography and that last scene ...when you look up and see those trees... wonderful use of raw and basic filming techniques... it is a master piece in my view and I'm glad to have seen it.
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user\nIf the caper genre owes a lot to Walter Huston, it also has a debt of gratitude to Jules Dassin, a man that was ahead of his times and who suffered a lot because of his blacklisting when Edward Dmytryk accused him of being a Communist. The end of his American career would have meant the end of Mr. Dassin, but moving to Europe proved he was bigger than the same people that had contributed to his Hollywood demise.
\"Rififi\" is an elegant film in which all the right elements come together thanks to Mr. Dassin's vision. He decided to adapt Auguste Le Breton's novel because he saw the possibilities for turning it into a caper film that became an instant classic. Jules Dassin was penniless in Paris when he discovered the city that were going to serve as the background to his film. The bad weather paid off for Mr. Dassin as the streets were always wet and not much had to be done to show them that way.
When we first meet Tony, he is playing cards. Tony appears to be in bad health; he coughs all the time and sweats profusely. After losing all his money, he goes to see Jo, the Swede, who tells him about a possibility for a robbery at Maupin & Webb, the fancy jewelry store at a tony section of Paris. They pass the idea through Mario, who suggests Cesar, the Milanese, an expert safe cracker.
Tony, who has come out of prison recently, learns that Mado, his former lover is now with Grutter, a creep that owns a night club. Upon confronting Mado, instead of love, all he feels is contempt, and the meeting ends badly and he throws her out of his place. Grutter has no love for Tony, who is his natural enemy because of his connection with Mado.
When the day arrives, the gang is able to get to the apartment building where on the second floor, right above the jewelry store, the owner lives, but he is away. Everything goes well and the gang gets away with the jewels. Cesar, the Milanese, a typical ladies' man, takes a ring as a souvenir, which in turn he gives the chanteuse at the Grutter's night club. This tactical mistake is the spark which unravels the well thought plan.
Jean Servais made an excellent Tony. He showed a tired man who was possibly doing his last robbery. Carl Mohner, Robert Manuel and the director, Jules Dassin, are seen as Jo, Mario and Cesar, the quartet jewelry thieves. Marie Sabouret plays Mado. Marcel Lupovici plays Grutter with a subdued intensity. Robert Hussein, who would go to direct movies later on, makes an impression with his Remi, one of Grutter's men.
The film best asset is the great camera work by Philippe Agostini, who captured the atmosphere of Paris and the locales where all these criminals operate from. Georges Auric's music plays well with the action in the film. Jules Dassin was peculiar in his choice of films that he directed, and unfortunately, that is our loss because this man was a genius as proved mainly with \"The Naked City\", \"Night and the City\" and \"Rififi\".
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user\nAs far as I am concerned, this film noir had two totally different things going for it as opposed to the film noirs I am used to viewing: 1 - the setting is Paris, France; 2 - there is 28-minute scene with no dialog.
Both make this movie a bit unique, at least to English-speaking film noir fans. Actually, an American, Jules Dussain, shot the film, so it's not entirely a European film. Initially, I was disappointed in this after I had watched the first 40 minutes. It's an expensive DVD and I was bored. However, once that silent segment started - the actual heist (you already know what's it about), the film picked up considerably and just got better and better.
In fact, I thought the best part of the story was what happened after the heist. The best aspect of the entire film was the cinematography. This is what makes the disc worth owning. It's excellent film noir photography and a real travelogue for those of us who have never seen Paris...and this is Paris in the mid 1950s. There are lots of bleak-but-interesting rain-soaked Paris streets and buildings I found fascinating to view. In fact, there were many more of those great shots than of London in the much better known film, The Third Man.
The lead actor in here, Jean Servais, I think his name is, also is interesting to view. Someone described his face as a cross between Humphrey Bogart and Harry Dean Stanton, and that sums it up perfectly. A warning for those not expecting profanity or nudity in a classic film. This is France, not the United States, so there is a little bit of both in here. I appreciate the DVD offering the choice of subtitles or a dubbed version, too.
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user\nDu rififi chez les hommes is a brilliant film which studies criminal minds and allows viewers to have a better understanding of criminals who are fundamentally not different from ordinary folks like us.What director Jules Dassin shows is that criminal do have families and they care a lot for them.That is why they adhere to a strict code of honor. For them a family is not only made up of wives,mistresses and children but also include casual acquaintances and close friends.Contrary to what many might find it hard to believe,Jules Dassin has not tried to glorify crime in his film as rififi makes it clear that crime never pays.It shows that all kinds of bad activities result in some kind of human loss.Apart from its philosophical stance Rifif is worth watching for its technical finesse.While watching one of the film's most brilliant sequences about breaking of a safe,one would find it hard to believe meticulous precision with which criminal minds execute their plans.This is a scene which nobody has dared to copy in Hollywood.
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user\nAfter seeing NAKED CITY and NIGHT AND THE CITY (which is still my favorite Dassin) I was more than excited to watch his \"Masterpiece\" (O-Word Criterion) RIFIFI.
Now i am a little bit disappointed about the story.
So I have at least these five questions in my mind:
1. In the final Countdown Louis Grutter shot from the inside a house the main Character Tony le Stéphanois. He couldn't know if he is still alive or not, but he didn't care about it and ran directly after it outside the house (with the money) to reach his car. So of course Tony wasn't dead and shot him. BIG QUESTIONMARK.
2. In another important scene the specialist in safes Cesar gave directly after the robbery as a present a diamond ring (which was a part of the robbery) a Woman which was working for Louis Grutter in a night bar. Stupid, because before this character wasn't THAT stupid. And of course Louis knew directly that Tony planned the jewel robbery. SMALL QUESTIONMARK.
3.After the Gangsters behind Louis Grutter murder Mario Ferrati and his wife,Tony and his best friend Joe planned a revenge against Louis gang. At the same time they don't care for the security of Joe's wife and his five years old child. Of course Louis gang kidnapped the son. CHEAP and SIMPLE.
4. The perfect heist: Of course this is the best 30min. long scene in the whole Plot, without any word spoken in the whole time, but was this a perfect heist?? Comparing with other movies which handle with this theme i could only smile when for example Tony was taken a fire-extinguisher to banned the alarm. Also too SIMPLE.
5. The Grutter gang went to the house of Mario, because they knew (however....) the jewels will be there. Then they murder Mario and his Wife. And then? They are not searching for it! NO. They ran directly out of the apartment. And more. They not observing the apartment after it so Tony can go after a while (which was the same day) inside to take the jewels. BIG QUESTIONMARK.
Over all: it's a good movie. Because of the brilliant 30min silent heist scene. Because of the very good cut (The end scene in the car through Paris is stunning) . Because of a very good actor called Jean Servais. Because of this Black/White fever you will get while watching it. Because of some other reasons too other user wrote about, but please don't tell me this is a stunning story.
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user\nIn order to pull off a job like this caper in Rififi (e.g. The Score and its opines), one has to have nerves of steel. This one apparently demands and commands it. Jules Dassin is the master.
I was on the edge of my seat throughout. It deserves to be better known, even though it was not at the time of its release in 1954, due, one supposes, to the director being blacklisted in the hypocritical Hollywood of its day.
I would recommend this film to anyone who has not has the pleasure of seeing it.
I cannot give it enough stars.
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user\nI heard they were going to remake this French classic in 2007, and I see it is in development for 2011. This will be a shame, as Hollywood kicked writer/director Jules Dassin out because of the infamous blacklist. They should not have the right to remake any of his films.
I love \"caper\" films and \"film noir,\" and this combines the best of both.
Tony (Jean Servais) gets out after doing a nickle, and after he beats up his old girlfriend (Marie Sabouret), he plans a big score with his friends Mario (Robert Manuel) and Jo (Carl Möhner), What makes this a great caper flick is the attention to detail in planning the robbery. You see that reflected in the George Clooney Vegas capers. Nothing is left to chance.
The caper goes off great but Grutter (Marcel Lupovici) sends his sons, Robert Hossein and Pierre Grasset after Tony and the gang. After blowing it with Mario, they kidnap Jo's son. Lots of bullets fly before it is over.
A great film by a great director. The standard by which other caper films are measured.
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user\nThe fact that after 50 years, it is still a highly watchable movie, says a lot about it. It is more intelligent and interesting than almost all recent movies of the same genre you can find, and has a certain endearing feeling of innocence to it. I am not a big fan of this type of movies, but I could watch the whole thing without being bored, which makes it a good movie to watch with someone who does not necessarily share your taste in films. I liked the black and white palette, the excellent casting, the clever heist scene that keeps you guessing about what trick they will pull next, and the ending like everyone else. Watching the heist sequence makes one realize the power of silence, which is unfortunately so underused in today's cinema.
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user\nI have been wanting to see this since my French teacher recommend it to me over forty years ago. Perhaps the long wait was worth it, since the Criterion Collection DVD restoration is impressive.
In its outline this movie follows the time-worn script: a quartet of men diligently plot a difficult heist of a bank vault, the heist takes place, a small seemingly insignificant event leads to the ultimate demise of all. Even though the heist footage is transfixing, it occurs rather early and is ultimately not at the core of the film. This film separates itself from the typical heist movie by giving us insights into the personalities of the characters and their motivations - its plays as much as a drama as it does a thriller. Relationships play a big role and a kidnapping is tacked on, giving us two movies for the price of one.
John Servais plays the idea man Tony le Stéphanois (always referred to as \"le Stéphanois\") with such world-weariness that he could have just stepped out of a Camus novel. Tony has just recently gotten out of jail and resists re-entering the life of crime until he has a highly unpleasant interaction with his ex-lover (who has taken up with another man) where, as punishment, he physically whips her with a belt. Thankfully that scene occurs off camera, but you are not likely to forget it. After that sobering event, since there seems little hope of reviving that relationship, Tony meets with two of his old partners in crime, Jo and Mario, and decides to join them in one last big heist. They enlist the services of Cesar, an Italian safe cracker - played by director Dassin himself - and we are off to the heist.
The heist goes off without a hitch. But Cesar's womanizing bent is a personality trait that turns out to be fatal for all concerned. However, we can understand his attraction to the nightclub singer he has fallen for, since there is a brilliant set piece where she performs a sexy and cinematically inspired nightclub act - it has to be one of the most memorable scenes from any noir film.
It is established early on that Tony has a close relationship with Jo and his family; in fact Jo's son refers to him as uncle. I think it is partly to help Jo's family that Tony agrees to the heist. The ending scenes, where Tony saves the life of Jo's kidnapped son, partially redeems his more brutal and amoral actions. But only partially.
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user\nThis is an excellent documentary about a story I hadn't heard about before. The first solo, non-stop sailing race around the world took place in 1968-69 and involved a handful of racers. It's a truly fascinating story about man vs. nature and man vs. himself. The story focuses on Donald Crowhurst, the tragic figure in this story. The film elegantly combines interviews with footage which was shot by the sailors themselves aboard their boats. The story is very suspenseful and sad as we learn the details behind the history of Donald Crowhurst. This is one of the best documentaries of the past few years. It has true human emotion in it as the men face this almost impossible task of navigating the world non-stop on their own.
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user\nwell-made documentary about a sailing race, sanity and the loss of both.
i remembered reading Sir Francis Chichester's account of his trip around the world when i was in high school as i watched this film. what an adventure that was.
deep water tells an equally fascinating story.
it takes a special person and an excellent sailor to manage a non-stop trip around the world...alone.
this film does a great job of demonstrating that.
i love to sail, and my brother races J-30s.
but i could never accomplish such a feat.
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user\nI saw this movie on TV and loved it! I am a real disaster film fan, and this one was great. The cast was made of some really interesting people. Connie Selleca is always great. And William Devane is in a league of his own. He can play both comedy and thriller in the same movie like few others can. The story line is great too. The thought of being able to follow a time line of what will happen, and to use this time line to prevent a global disaster is an interesting idea. And this movie brings it out in such a way that is almost totally believable.
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user\nWhat a trip down memory lane.
Do not look for great acting, believable plot lines, or anything resembling a quality movie.
This is pure blaxploitation at it's finest. Outrageous outfits, unrepeatable dialog, objectification of women, and the sleaziest cops you can imagine.
This vanity piece by the \"Godfather of Rap,\" Rudy Ray Moore, who left us for good last week is the standard by which all blaxploitation is measured.
You not only see blaxploitation at it's finest, but get glimpses of his comedy genius, and see why his records were kept under the counter.
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user\nDolelemite (1975) is a cult classic. Starring Rudy Ray Moore as the pimp superhero out to wrong rights whilst challenging the MAN along the way. He has two enemies, that no good Willie Green and the sleazy mayor. Watch Dolemite kick, punch, slap and pimp his way across the screen. What's the man's name? DOLEMITE!
Interesting film that paved the way for a generation of rappers and performers. To sell more of his party albums, Rudy Ray Moore made several on the cheap films during the seventies. Self produced and marketed he catered towards a specific audience. Some people call it blacksploitation others call it trash, I call it entertaining. Dolemite was followed by the semi-sequel The Human Tornado and a direct to video Return of Dolemite 25 years later.
Highly recommended, a definite cult classic!
Footnotes, if the film was properly matted on video you wouldn't see the boom mikes. Dolemite was cut to receive an R-rating.
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user\nDolemite is, for me, an object of my deepest affection. It's got everything: a gang of karate-fighting prostitutes, Dolemite punching his fist through Willie Green's (director Martin) stomach, high pumps and 100 gallon dalmation-print hats. Moore's unique comedy raps, actually toasts, are close to the roots of hip hop. No wonder Dr. Dre mentioned \"Dolemite\" 3 times on his classic album \"The Chronic.\" Add the best list of characters to ever grace a movie, like the horny preacher, the hamburger pimp and, of course, \"the one who no one knows until it's time.\" Credit should be given for style to director D'Urville Martin, a fella who probly doesn't get as much attention as he should around film fan circles (I've been looking for a copy of his and Fred Williamsons' movies from the early 70s for years and can't find them).
A lot of people are really down on this movie and say it's really bad, and it is true that you can see boom mikes appearing everywhere (look to DP Nicholas Josef Von Sternberg, for whom I think this was a very early effort), there are a lot of things going for this movie. Number one, there is no other movie like it. Number two, you get to see Rudy Ray Moore do a (highly sanitized; everyone who HASN'T seen Moore's outrageous live act will have to use their imaginations) cinematic version of his toasts, plus him living the life of his comic book character superpimp come to life. The action scenes are pretty poor, but the characters' dialogue when they're talking trash more than makes up for it. It's full of strange little details (like the fact that the Hamburger Pimp is wearing a Dolemite T-shirt inside out -- was this intentional or did the guy just pick up whatever shirt was lying on the set and put it on?) that keep you coming back to watch it again and again.
At least I have.

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user\nBeing a bit of a connoisseur of garbage, I have stumbled across this little treasure. Action, romance, crooked cops, violence. Its all here and not a single one has been pulled of right. I was in love immediately. Then, a funny thing happened about the second time around. I became addicted. I thought it was going to be a one rent and chuckle kind-of-movie.
Rudy Ray Moore knew what he wanted to see in a movie. He didn't have the money to make it look good, but he did it anyway. That's very commendable. It also shows he was making the movie for his self. I don't know how many of you have heard Rudy Ray's music, but if you haven't he has a whole slew of albums reaching into the fifties.
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user\nDolemite is a blaxploitation film about, well, Dolemite and his army of kung fu killer women, led by Queen Bee. He fights to get his club, The Total Experience, back from Willie Green by utilizing their kung fu abilities and their devotion to him. I liked this movie because of the witty dialogue and also the use of Rudy Ray Moore's ability to preach to his brothers in rhyme.
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user\nDolemite is awesome. Rudy Ray Moore's rhymin kung fu pimp with horrible choreographed action sequences is about as close as you can get to becoming a spoof of a genre without actually being spoof. Citizen Kane this may not be nor Les Infant Au Revoir, but this is undoubtedly genius in it's own right. The production values in this movie are so bad they could qualify as existential special effects. The plot drags a little in the middle but the power of such a cheap premise as kung fu hookers is enough to bring all but the snootiest film lovers through. The infamous ever present boom mike evokes shades of the gloriously incompetent Ed Wood and never grows unfunny. I sometimes wonder if the boom mike was left in on purpose as commentary on the ridiculous aspects of movies in general but i usually get distracted by erotic scenes that lack eroticism to the point of high art mundanacity. Everything is this movie is alive and breathing, dripping with desperate longing to be simultaneously loved and reviled. It works.
9 out of 10
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user\nYeah...I read David Lee Roth's autobiography, \"Crazy From the Heat,\" (which by the way is an amazing read), and DLR says this was his favorite blacksploitation movie as a kid. In fact, he says he always imagined himself as a black guy in Southern Cal. Mr Roth is quoted as saying:
\"We saw every Blacksploitation picture, and those movies were a HUGE influence on me. Trouble Man, Superfly, Foxy Brown, Shaft, Cleopatra Jones, Blacula, Rudy Ray Moore doin' his Dolemite vibe-I saw all of those...\"
He goes on to say:
\"Dolemite - Rudy Ray Moore - was one of the originals. He was a blue comic, doing blue humor. Like Redd Foxx did on early party records. So he was the most perfect to play a new secret agent. His answer was not \"Bonds. James Bond.\" His answer was \"Dolemite, motherf*****!\" We would wait for that line in all of his movies. \"Get Whitey\" would show up in every single movie at least once, and we would wait for that, too. They had the cars. They had the shoes. They had the guns. The Haircuts. The Slang. And the scams. And we all knew that all those beatific resolves at the end of the movie were white bull****. He's trying to feed hungry children but he's actually a pimp...bull****. That was designed to make it palatable to our moms and dads so they'd let us go see the picture.\"
Spoken like a true genius. So upon reading about Dolemite in Mr. Roth's book I immediately bought in on DVD and I really like it. Yeah, it's super low-budget, and yeah...I hate rap...but as a fan of Tarantino movies, I can see many similarities, especially some of the 70's fusion/funk ala-jaco pastorius music throughout the film. I also love the scene where the two cops 'bust' him for coke and then one of them snorts a whole bunch of it like he'd done it a thousand times before, and says something like, \"Aww yeah....that's the real mccoy!\"...and then he continues to talk and has a little bit of coke still on his lip. CLASSIC! Some of the violence is a little over the edge, but shocking, which I would consider to be a positive quality. Not as predictable as I assumed it would be. Definitely going to pick up \"The Human Tornado\" very soon. 10 out of 10.
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user\nRudy Rae Moore is getting out of prison and getting revenge! Often referred to as the Godfather of Rap, he should also be the Godfather of great movies. The non-stop action will keep you on the edge of your seat and will leave you begging for more. Luckily, Rudy comes back as Dolemite in Human Tornado, so sit back relax, and have the rewind button ready because you won't believe your eyes!!
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user\nOf course, seeing a few boom mikes doesn't mean anything, does it? Lord, Rudy Ray Moore and D'Urville Martin really put this one together didn't they? I laughed a lot, as often happens in these types of movies, but I don't know what I was supposed to laugh at because I laughed at so many other things. I am not saying the movie was bad, but I will say that a little more editing would have done wonders. I am a huge fan of Blaxploitation, so I don't think that it was horrid, but I know that \"The Human Tornado\" was several times better than this. I think that those who can make it through this movie might need a Colt 45 or two afterward. I mean, it really helps you to not notice the boom mikes when you watch it again.
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user\nCertainly this film is not for everybody---but for anyone with a sense of humor and love of period film Ð buy this immediately! Where else can you get a run down of 70Õs fashion, a period vocabulary primer, karate trained hookers, crime, a rap about the TitanicÕs sinking, shoot outs, and a co-star named Queen Bee (watch for her moving crying scene early on in the wardens office!) With a filming style thatÕs a cross between a porno movie/Dawn of The Dead/ and Car Wash, you cannot go wrong. This is one to watch over and over againÉafter you put the kids to bed.
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user\nCitizen Kane....The Godfather Part II....D'Urville Martin's Dolemite. This is the single greatest piece of celluloid ever created and unleashed upon humanity. Rudy Ray Moore, in a role that transcends Academy Awards stars as Dolemite, the baddest cat in the universe. He clearly does not take any jive from no turkey (I myself am unfortunately a turkey) and proves it with his powers of rapping, pimping, and karate chopping. This is blaxploitation at its absolute finest, a shining example of the genre with its low budget, continuity errors, and hatred for rat-soup eating honkey expletive expletive. The true Godfather of Rap (not this new Ali nonsense) Moore is something of a juxtaposition of acting technique; somehow managing to be the most charismatic awful actor of the 1970's, and thats saying something. This one is HIGHLY recommended folks, if not for the one-liners alone.
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user\nDolemite is one of the best movies featuring a pimp as a hero, who takes down the man, meanwhile hooking up with all the finest women that the ghetto has to provide. Mind you that these women know karate, and are fine foxy ladies.
SPOILER--the end fight scene is pretty crazy, with Dolemite ripping the heart out of Willy Green. Make sure your copy is unrated.
Plus there are a cast full of innovative brilliant characters like the Hamburger Pimp, Reverend, Mayor, Queen Bee, and others. The apparel is great, and the sets are full of 70's style. There are a few mess-ups in the production, such as boom mikes accidentally appearing, among other things, but that adds to the charm and laughs.
I would recommend drinking a 6-pack before and during this movie, and keeping squares and the man a far distance away.
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user\nDolemite may not have been the first black exploitation flick to come along but it certainly is one of the best. It is a pivotal film in the Black Exploitation genre as where it caused a dramatic shift between the films that came before it in contrast to the films that came after it. It wasn't necessarily a poignant or moving film about black culture and it's fight to overcome issues like racism or anything as important as that, but it was the story of one bad-assed dude fighting \"whitey\" with his army of hot kung-fu mama's. It was a guilty pleasure, great fun and best to watch it with friends. (10 out of 10)
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user\nThis movie is all about blaxploitation, there is absolutely no plot at all. A pimp stops some bad guys with his kung fu hoes to try to get his nightclub back. Rated R for Strong Language, and a brief sexual situation.
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user\nThe various Law & Order and CSI franchises had better be glad Dolomite doesn't pass through. The lady cops,ADAs,and coroners would all be enthralled and the males be subject to such soul shivering,badge melting warp speed kicks ( Wouldn't you just love to see David Caruso's Horatio and that know it all on CSI get Dolomite's Hush Puppies pulled from their respective asses)Ice T might start crying and get back on the Playa Trail.
Low low budget,bad but enthusiastic acting,and a vision at what gutbucket nightclubs offered to its patrons;funk bands soul singers,the last vestiges of old style Chitlin Circuit entertainers( that weirdling dance troupe)James Brown,Wilson Pickett,Otis Redding,and a host of others came from those clubs to glory, while their peers labored on in local or regional stardom. Rudy Ray Moore came from that background and the character of Dolomite is a mix of the bold Black badasses who strutted through. He shouldn't have went to the joint, the swine didn't have a warrant, how his middle aged ,blubbery self maintained a loyal stable of kung fu wenches is a mystery only a student of cults can explain, but all that is beside the point. It's a glorious home movie of a legendary performer that compared to the mirrors of actors ranging from Established Hollywood to indie film snorefests,hits its mark. A fun dumb movie!
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user\nAnybody interested what black film making was like in the 70's watch this film. Some the dialog in this film is so funny IE the summary of my submission. Also watch out for the boom mic to show up in some of the scenes as well as some of the best karate action ever. Don't take this movie seriously or you will be disappointed, go into it with an open mind and step into the world of one the the baddest mutha in the world Dolemite!!! Editing wise its put together like it was sliced with a razor but once again this film is so much more than what you see in the movie it has influenced the black community in ways you cant understand!!!
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user\nYes, this is one of the greats of the black action genre. Confusing mixture of racist comedy and racist violence (at times reaching a disturbing pitch, even for a fan of the genre) this movie isn't your Shaft in the park. Wonderful bits of Rudy Ray Moore comedy stand up that don't seem funny, at least not to a white boy like me, but great in context. Much better than its dissimilar sequel, \"The Human Tornado\"
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user\nThe best so-bad-it's-good movie ever made. Rudy Ray Moore is my personal hero. Whether dealing with day to day life or pimping ho's down the block, I can always look to him for inspiration and guidance. When it comes to blaxploitation, Rudy's the man. Nobody is meaner. Watch Dolemite as he and his army of all-female kung fu killers take down Mr. Big and Willie Green. Awesome plot, huh? There are so many one-liners that multiple viewings are necessary to improve your vocabulary. If you say a couple of lines from Dolemite, you are instantly cool. If you are in the mood for a laugh riot, rent this movie. Also check out The Human Tornado, Disco Godfather, and Petey Wheatstraw the Devil's Son-In-Law. Now, can you dig that?
\"You no business barring, insecure, rat soup-eating, motha!!'\"
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user\nThis movie is funny in more ways than one. It's got action. It's got humour. It's got attitude. It's got Dolemite's all girl army of kung-fu hos! And that's just what the movie offers as a film. It's also badly acted by some, the mic makes more than one cameo appearance, and some \"punches\" miss by feet. But when you make a movie this cool, who's got time to pay attention to those \"details\"? This movie rocks. Rent it tonight, if you can find it... I had to buy it to see it, but I don't regret it!
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user\nIf you watch this movie you'll be quoting it and referring to it for a long time to come. It's been years since I saw Dolemite and I still quote it to this day. It's a true classic. It is so mind-numbingly awful that it makes a hilarious view. Every terrible line of dialogue is totally amazing. Every wobbly shot a work of art(?). And every punch and kick so woefully executed. You won't believe your eyes. It's all I can say. If I really get into how mesmerizing this movie is I won't be able to stop and I'll go way over the IMDb 1000-word limit.
Please, please watch this movie. You'll be in hysterics. Either 1/10 or 10/10, depending on your sense of humor.
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user\nI find this film meretricious, tentative, lethargic, and skillfully a bad choice of entertainment on celluloid. But I admire the courage to throw away a script, turn the camera on, and act a fool. I find the inauspiciously performances, lighting, cinematography, sound, and whatever film school laws D' Urville Martin broke funny. Speaking from a film directors perspective there is times I just want to drop everything and have fun on the set. This film looks like fun. When other aspiring film directors ask me advice I just tell them to watch any film by Rudy Ray Moore. They always return a puzzled look asking me why not watch the masters Woody Allen, Scorsese, Lucas, Capra? I laugh and include that you always want to know what not to do in cinematic story telling first.
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user\nI was fortunate enough to catch a midnight screening of this movie tonight. I must say, I was expecting a horribly cheap movie with bad acting and a mediocre plot. I was completely mistaken. This movie was not only incredibly entertaining, but everything about it I simply loved. Bruce Campbell was as amazing as ever. The biggest surprise was none other than Ted Raimi, you know, Sam's little brother. He played the mad doctor's henchman to the greatest extent. Somewhere between physical comedy and clever dialogue, he did nothing but shine. But i really cannot ignore the magic that is Bruce Campbell. Though I did think that Ted Raimi stole the show, Bruce did what he does best on the big screen. Somewhere between the sketchy nasty American business man and the tragic victim, he displayed the same energy that he has always shown to be incredibly attractive to audiences. The movie itself was often interrupted by applause from the viewers. The crowd was definitely excited with each little turn that the movie took.
This movie may not be Oscar material, but my goodness, it was amazing. I would highly recommend this to any Bruce Campbell fan. Also, anybody that likes campy sci-fi movies, do yourself a favor and watch this. Can't wait till this makes it out to DVD.
Take it as you want to....
- the fed
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