The Five Heartbeats.

Review #2514: The Five Heartbeats.

Cast: 

Robert Townsend (Donald "Duck" Matthews), Michael Wright (Eddie King, Jr), Leon (J.T. Matthews), Harry J. Lennix (Terrence "Dresser" Williams), Tico Wells (Anthony "Choirboy" Stone), Tressa Thomas (Clara), Diahann Carroll (Eleanor Potter), John Canada Terrell (Michael "Flash" Turner), Chuck Patterson (Jimmy Potter), Harold Nicholas (Ernest "Sarge" Johnson), Hawthorne James (Big Red Davis), Roy Fegan (Victor "Bird" Thomas), with John Witherspoon (Wild Rudy), and Troy Beyer (Baby Doll) Directed by Robert Townsend (#1315 - Eddie Murphy Raw, #2348 - Hollywood Shuffle)

Review: 

"The film has a big heart. It's about family; it's about faith. You follow these five men on their journey together, and when it's all said and done, it's fulfilling. I think at the core of it is faith. It has a healing message." - Robert Townsend.

You might be familiar with the soulful power of groups such as The Dells, The Temptations*, Four Tops or the singers in Wilson Pickett, James Brown, Frankie Lymon, and Sam Cooke. At any rate, the sound that came from them clearly had an effect on Robert Townsend and also Keenen Ivory Wayans, as the two wrote the film that was originally in development with the idea of having the Wayans family appear in the lead roles, but when Warner Bros. passed, the Wayans moved on to other ventures (In Living Color, namely). But Townsend persisted and found a deal with 20th Century Fox in 1990. Apparently, Townsend wanted David Ruffin and Eddie Kendrick of the Temptations to be technical advisors but 20th Century Fox vetoed it because they thought Motown founder Berry Gordy Jr could sue the studio. Instead, the Dells (as comprised of Marvin Junior, Verne Allison, Mickey McGill, Chuck Barksdale and Johnny Carter). were brought in. A variety of musicians were utilized for near dozen songs featured in the film, most notably with The Dells with songs such as "A Heart Is a House for Love" while Dee Harvey also provided a handful of songs for the actors to lip-synch to. Made on a budget of roughly $8 million, the film was not a big success with audiences (although it has a small cult following), while Townsend's next feature film came with The Meteor Man in 1993.

1965...at least when told in flashback, since it starts out with one of those "Where Are They Now?" type of magazines showing that, yes, everyone becomes a "whatever happened...?" type. Oh sure, The Five Heartbeats is a bit of a sentimental movie, and I doubt anyone is exactly going to be surprised by what goes on in a music biopic (real or imagined), but I do admire this stuff a bit in the general experience that comes with having some music just flow into you. It just so happens to be a movie that yearns to show the rise, fall, and redemption of people where flaws and mistakes can be one to survive with the right type of love and forgiveness behind it. Preachy or not, it also happens that some of the music is fairly entertaining to mostly smooth over a 122-minute runtime that would make a cynic blush. The music montages in particular make for a curious way to convey a film in some parts, but, hey, more for the rest of us. Strangely, it might be Lennix that steals the show best in the type of steely intensity that makes for a useful performer to see out there among the others, who are mostly fair in their characterizations (Townsend, suffice to say, is okay). Patterson and James make for a fascinating double-edge sword of figures to lurk behind the group in their own varying levels of motivation to be around music (the latter, spoiler alert, is basically a wolf in sheep's clothing, made clear with an excellent little scene of him threatening someone). It is the type of movie that unabashedly preaches to the choir of seeing the good and bad that arises in sudden rises (and falls) to fame that keeps a good beat and keeps a good level of intimacy around to make you believe in these folks without turning it into a riff of comedy beats or just straight drama. I enjoyed its little trek that shows a period piece for earnest enjoyment that searches for a common truth in what really matters besides the hunt for a good beat or material efforts: coming back together at the end and caring about one other. It's a nice little movie that might flow up your alley.

Overall, I give it 8 out of 10 stars.

Once more, a song of the night

*Incidentally, when NBC did a miniseries about the Temptations in 1998, Leon was cast as David Ruffin, who by that point had passed away in 1991.

Disco Godfather.

Review #2507: Disco Godfather.

Cast: 

Rudy Ray Moore (Tucker Williams), Carol Speed (Noel), Jimmy Lynch ("Sweetmeat"), Jerry Jones (Dr. Fred Mathis), Lady Reed (Mrs. Edwards), Hawthorne James (Ray "Stinger Ray"), Julius Carry ("Bucky")", Hazel Spears (Ellen Davis), Frank Finn (Lieutenant Frank Hayes), Fitz Houston (Kilroy), and Pucci Jhones ("The Angel of Death") Directed by J. Robert Wagoner.

Review: 

This was the fifth and final movie where you could reasonably see Rudy Ray Moore on the big screen in a substantial role (okay so he wasn't in The Monkey Hustle [1976] that much, but he was on the poster, so...). Honestly, he pretty much peaked with his first one with Dolemite (1975), which somehow soared in its amusement and entertainment value despite clear and obvious flaws (the filmmaking, for one). The Human Tornado (1976) could've gone better. Petey Wheatstraw (1977) was flat out weird. By this point, Moore was actually in his fifties. Okay, so here is a movie written by two people: Cliff Roquemore (who directed Moore in The Human Tornado and Petey Wheatstraw and did a performance film of Moore's act in 1982) and J. Robert Wagoner. For the rest of his life, Moore would make bit appearances in a variety of programs of television and direct-to-video and theatrical works while doing his comedy albums and even being invited to appear in songs. Needless to say, he lived a colorful life that very well could be a hero of what he called "ghetto expression"*.

Well, there were a few disco-related movies at the time too, so why not cross that with a message about angel dust? Sure won't see that in Roller Boogie (1979), I imagine. I'm not exactly sure why the movie is called "Disco Godfather", because the lead character is an ex-cop that goes on a double-sided crusade: cracking down on where the drug structure is coming from and pushing along with a community alliance of activists to (no I'm not joking) "Attack the Wack". What I wish I could know about the movie is what type of atmosphere this film was made under: sure, it was probably a B-movie made fast and cheap (Moore was also co-producer) but was there any sort of substances involved to come up with such an incoherent movie? You get plenty of hallucinations (get it, because PCP is like being in hell) for a movie that actually does feature plenty of blood from its array of goofy fights (and one suicide because, yes, a guy gets busted for being an informant) and even goofier stakes, at least when not detailing PCP-affected people that may or may not recover from their addiction while others apparently deal with the ramification of roasting babies when high. Consider one scene where our hero has a hit put on him where the hitmen are right at the disco ready to shoot him...only for the bad guy to put a hit on the hitmen! Because he wants the hero to be alive to deal with. You might wonder how the movie lasts 97 minutes. Well, between all of the goofy sequences involving disco (don't take a shot every time someone says "weight"), I think you can understand. There is a sense of tiredness that becomes apparent in the imagination of all involved with Moore (suffice to say, one does miss the kung-fu trained prostitutes of Dolemite). Here you just get a movie that would probably make a goofy doubleheader with Reefer Madness (1936). As a whole, the film is a goofy hit-or-miss experience that never really clicks into serious gear for any of its interests but is at least committed enough in its vision to provide curiosity that may be up your alley if you like old-time oddball movies.

 

Overall, I give it 6 out of 10 stars.

*I'm not sure if I ever linked to this article, but it is interesting to note that Moore apparently was in the closet: My Coke-Fueled Nights With Dolemite - OZY | A Modern Media Company + New Doc Reveals Details Of ‘Dolemite’ Actor Rudy Ray Moore’s Sexuality