Viewing page 12 of 20

This transcription has been completed. Contact us with corrections.

Transcription: [00:28:28]
{SPEAKER name="Pearl Bowser"}
and what Van Peebles' film did in those conversations was to provide another kind of a context for those discussions.
[00:28:37]

{SPEAKER name="Pearl Bowser"}
The fact that this film, the hero, uh, survives.
[00:28:41]

{SPEAKER name="Pearl Bowser"}
And, not only does he survive, but he is what he is from beginning to the end,
[00:28:48]

{SPEAKER name="Pearl Bowser"}
and becomes a kind of anti-hero. Which was somewhat revolutionary. Certainly, it was never seen in a Hollywood film.
[00:28:55]

{SPEAKER name="Pearl Bowser"}
And none of the black exploitation films allow the hero to survive, or to live,
[00:29:00]

{SPEAKER name="Pearl Bowser"}
no matter how good he was or how bad he was. He always expired by the end of the film.
[00:29:04]

{SPEAKER name="Pearl Bowser"}
So there were many reasons that people talked about the film, even though they had not seen it.
[00:29:09]

{SPEAKER name="Pearl Bowser"}
But it had its impact in a much broader way than just people actually seeing the film in a theater.
[00:29:14]

{SPEAKER name="Pearl Bowser"}
Uh, his-- At the moment Van Peebles, um, has a seat on the stock exchange.
[00:29:20]

{SPEAKER name="Pearl Bowser"}
Um, has done extremely well, uh. And he didn't just get the seat on the stock exchange,
[00:29:26]

{SPEAKER name="Pearl Bowser"}
he was there for a, quite, quite a while.
[00:29:28]

{SPEAKER name="Pearl Bowser"}
Uh, has done extremely well for himself with the records,
[00:29:31]

{SPEAKER name="Pearl Bowser"}
uh, with the distributions sale of his own films,
[00:29:34]

{SPEAKER name="Pearl Bowser"}
and he, uh, his work is popular abroad as well.
[00:29:39]

{SPEAKER name="Pearl Bowser"}
I mean, the-- the French are very, very much excited about, by Van Peebles' work. Um--
[00:29:46]

{SPEAKER name="Clyde Taylor"}
He directed a TV movie about six years ago. Uh, but I don't remember the name of it.
[00:29:54]

{SPEAKER name="Pearl Bowser"}
Gentleman something?
[00:29:56]

{SPEAKER name="Clyde Taylor"}
Yeah, uh.
[audience cross talk]
[00:29:57]

{SPEAKER name="Pearl Bowser"}
"Sophisticated Gents."
[00:29:59]

{SPEAKER name="Clyde Taylor"}
"Sophisticated Gents," right. Right. But his, his work is very sporadic.
[00:30:03]

{SPEAKER name="Clyde Taylor"}
Either in, uh, television or films. Yeah?
[00:30:10]

{Unknown Speaker 1}
Is there a body of critical reviews of this film by the, uh, establishment,
[00:30:18]

{Unknown Speaker 1}
both the black and white establishment in their publications?
[00:30:24]

{Unknown Speaker 1}
And how it-- was it received by the, uh, black establishment at the time?
[00:30:29]

{Unknown Speaker 1}
If there is a record of it?
[00:30:32]

{SPEAKER name="Clyde Taylor"}
Well, there surely is a record. I would suggest that the Museum of Modern Art there
[00:30:37]

{SPEAKER name="Clyde Taylor"}
would probably be a file. And other, and perhaps, at the Schomburg, as well,
[00:30:41]

{SPEAKER name="Clyde Taylor"}
there might be a file of reviews at the time. I've seen several--
[00:30:46]

{Unknown Speaker 2}
Have you seen nothing, uh?
[00:30:47]

{SPEAKER name="Clyde Taylor"}
I've seen quite a few. There was a very important piece by Lerone Bennett in Ebony magazine.
[00:30:52]

{SPEAKER name="Clyde Taylor"}
Lerone Bennett. Ebony magazine. Don Lee in black--
[00:30:58]

Transcription Notes:
---------- Reopened for Editing 2023-12-19 19:45:50 ---------- Reopened for Editing 2023-12-28 15:19:47 You need spaces between segments!!! ---------- Reopened for Editing 2023-12-28 22:37:21