Uptown Saturday Night | |
---|---|
Directed by | Sidney Poitier |
Written by | Richard Wesley |
Produced by | Melville Tucker |
Starring | Sidney Poitier Bill Cosby Harry Belafonte Flip Wilson Richard Pryor Paula Kelly Rosalind Cash Roscoe Lee Browne Johnny Sekka Calvin Lockhart |
Cinematography | Fred J. Koenekamp |
Edited by | Pembroke J. Herring |
Music by | Tom Scott |
Production company | |
Distributed by | Warner Bros. |
Release dates |
|
Running time | 104 minutes |
Country | United States |
Language | English |
Budget | $3 million (approx.) |
Box office | $6.7 million (rentals) [1] |
Uptown Saturday Night is a 1974 American action comedy and crime comedy film, written by Richard Wesley and directed by and starring Sidney Poitier, with Bill Cosby and Harry Belafonte co-starring. [2] Cosby and Poitier teamed up again for Let's Do It Again (1975) and A Piece of the Action (1977). Although Cosby's and Poitier's characters have different names in each film, the three films are considered a trilogy. Uptown Saturday Night premiered on June 15, 1974, at the Criterion Theatre in New York and opened to positive reviews. [3]
The plot of the film revolves around efforts to retrieve a stolen wallet, which contains a winning lottery ticket.
In 2024, 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". [4]
While enjoying themselves at Madame Zenobia's club on Saturday night, Steve Jackson and Wardell Franklin are held up by robbers who raid the club and steal Steve's wallet. When they realize that a winning lottery ticket worth $50,000 is in the wallet, Steve and Wardell set out to find the crooks themselves with the help of gangster Geechie Dan Beauford, who wants to defeat his rival Silky Slim. Steve and Wardell devise a plan to recover the ticket.
Main cast
Supporting cast
Uptown Saturday Night was produced by Warner Bros. in the midst of the blaxploitation film era along with films such as Cleopatra Jones and Black Belt Jones .
Throughout his career, Poitier was frustrated with Hollywood's portrayal of blacks in film and television, which motivated him to direct films during the blaxploitation era. The first film that he directed was Buck and the Preacher , in which he starred with Belafonte. Poitier then directed Uptown Saturday Night and its sequels, Let's Do It Again and A Piece of the Action . [5]
The characters in the film, while different in their motives and demeanor, have a sophisticated and classy appearance in the black community (with the exception of Sharp Eye Washington). Poitier sought to represent black actors on screen in an elegant manner in contrast to the usual image of blacks in Hollywood. During his career, he refused roles that enforced negative stereotypes, and chose to play characters who were "dignified, proud, and ethical". Critics have noted this pattern: "In all his films, [Poitier] was educated and intelligent. He spoke proper English, dressed conservatively, and had the best of table manners". [6]
Uptown Saturday Night grossed $7,400,000 in the US, surpassing its production cost of $2,500,000. It was on the list of top 50 highest-grossing films at #3, just three months after its release. [7] The film received mixed-to-positive reviews upon release. Vincent Canby of the New York Times wrote that the film "is essentially a put-on, but it's so full of good humor and, when the humor goes flat, of such high spirits that it reduces movie criticism to the status of a most nonessential craft". [8] Gene Siskel of the Chicago Tribune gave the film 3 stars out of 4, calling it "an old-style comedy revue in which each actor has his chance to crack up the audience with one big scene ... [Poitier] derives natural comedy through the simplest of actions, simply because he's Sidney Poitier. Whether it's waiting for a bus or calmly listening to a boastful friend, Poitier grabs our attention by letting us see him as a regular guy". [9] Kevin Thomas of the Los Angeles Times called it "the funniest film since 'Blazing Saddles' and surely one of the year's most enjoyable movies, the old-fashioned kind that leaves you feeling good when it's over". [10] Penelope Gilliatt wrote that Richard Wesley's script "has managed to say something farcical with courageous and truthful underpinnings about black ways of escape into a world that is full of far more fun than any that more privileged whites ever seem to create". [11]
Among negative reviews, Gary Arnold of The Washington Post wrote that "while the film is a welcomed change from the many blaxploitation films of recent years, neither the vehicle nor the performers are able to get off the ground". [12] Paul D. Zimmermann of Newsweek wrote: "Poitier is not an inventive comic talent — he is erratic behind the camera and amiable but not funny in front of it. When the funny set pieces stop, the film sputters — but not before delivering a carnival of fine comic characters". [13] Variety called the film "uneven", opining that "too much of the time Uptown Saturday Night just lies there, impatiently waiting for more inventive comedy business and a zippier pace than the sober Poitier seems able to provide". [14] Walter Burrell of Essence magazine wrote "one walks away a bit dissatisfied...One is left with the feeling these great talents could have used a vehicle more suited to their abilities". [13] David McGillivray of The Monthly Film Bulletin wrote that "everyone tries so hard to affect a happy-go-lucky air, but the material is so feeble and Sidney Poitier's direction so uninspired that the performances of all but the urbane Roscoe Lee Browne look depressingly mediocre. It is difficult to see in Uptown Saturday Night anything but a colossal waste of talent". [15]
Shortly after the film's release, NBC commissioned a television pilot for a sitcom version of Uptown Saturday Night, [16] starring Cleavon Little and Adam Wade, playing the respective roles played by Cosby and Poitier in the film. The pilot did not sell, though it was seen on NBC during the summer of 1979 as part of Comedy Theater, one of many showcases featuring unsold pilots.
Although indirect, the sequels are Let's Do It Again (1975), and A Piece of the Action (1977). They also garnered mixed reviews from critics, partly due to the fall of the blaxploitation era.
Let's Do It Again (1975) was written by Richard Wesley and directed by Poitier. The first sequel to Uptown Saturday Night features Poitier and Cosby again on the same screen as Clyde Williams (Poitier) and Billy Foster (Cosby). Many members of the previous film return and play different roles, including Lee Chamberlin and Calvin Lockhart. The film relies primarily on slapstick comedy, compared to Uptown Saturday Night which had verbal wit comedy. [13] The film was met with mostly negative reviews. Stephen Klain of Independent Film Journal wrote: "As he did in the previous film, Poitier had given himself relatively little to do as an actor, preferring to let the camera linger on Cosby, who lets all stops out". Richard Eder of The New York Times opined that "the movie's main strength is Bill Cosby, who looks like a starved sheep in wolf's clothing, as is shifty and woebegone at the same time". In spite of reviews, it grossed $11,800,800 in North America, surpassing Uptown Saturday Night in revenue. [13]
A Piece of the Action (1977) was written by Charlies Blackwill and directed by Poitier. Poitier and Cosby return as Manny Durrell and Dave Anderson. Like its predecessor, it primarily uses slapstick comedy. It gained fairly positive reviews from critics. David Ansen of Newsweek wrote: "Corny and hip, cynical and sentimental, formulaic and funky, A Piece of the Action may have a medicinal intent, but it goes down like ice cream soda".[ citation needed ] It grossed $6,700,000 domestically.
The music for Uptown Saturday Night was written by composers Tom Scott and Morgan Ames. It was produced and arranged by Van McCoy. [17] It was released in late 1974, with a duration time of 6 minutes and 23 seconds. The opening song, performed by Dobie Gray, is very upbeat, with themes of self-preservation and happiness. The recurring song throughout the film and credits convey self-determination, a motive that reflects the Black Power movement, with the lyrics "I gotta hold on".
In 2002, Will Smith and his production company, Overbrook Entertainment, bought the rights to the trilogy for remakes to star Smith and to be distributed by Warner Bros. Smith hoped to get Eddie Murphy, Martin Lawrence and other famous African-American stars for the films. [18] [19] In 2012, Adam McKay was attached to direct the remake, based on a script by Just Go with It screenwriter Tim Dowling, with Smith and Denzel Washington in the leads. [20] There have been no updates since early 2014, when Nicholas Stoller was re-writing the screenplay, with McKay, Smith and Washington still attached. [21] In 2018, Kevin Hart was attached to star in the remake with a script written by Black-ish creator Kenya Barris. [22]
Sidney Poitier was a Bahamian-American actor, film director, activist, and diplomat. In 1964, he was the first Black actor and first Bahamian to win the Academy Award for Best Actor. He received two competitive Golden Globe Awards, a BAFTA Award, and a Grammy Award as well as nominations for two Emmy Awards and a Tony Award. In 1999, he was ranked among the "American Film Institute's 100 Stars". Poitier was one of the last surviving stars from the Golden Age of Hollywood cinema.
William Henry Cosby Jr. is an American retired comedian, actor, and media personality. He performed over a period of decades in film, television, and stand-up comedy, with his longest-running live-action role being that of Cliff Huxtable in the sitcom The Cosby Show (1984–1992). He also released several stand-up comedy albums and was a popular spokesperson in advertising for decades. Cosby was well known in the United States for his fatherly image and gained a reputation as "America's Dad". Since 2014, dozens of allegations of sexual assault have been made against him, which has effectively ended his career and destroyed his legacy.
Ghost Dad is a 1990 American fantasy comedy film directed by Sidney Poitier and starring Bill Cosby, in which a widower's spirit is able to communicate with his children after his death. It was a box office disaster. The film was nominated for three Young Artist Awards.
Rosalind Cash was an American actress. Her best-known film role is in the 1971 science-fiction film The Omega Man. Cash also had another notable role as Mary Mae Ward in ABC's General Hospital, a role she portrayed from 1994 until her death in 1995.
Gordon Douglas Brickner was an American film director and actor, who directed many different genres of films over the course of a five-decade career in motion pictures.
Johnny Sekka was a Senegalese actor.
A Piece of the Action is a 1977 American crime comedy film directed by and starring Sidney Poitier and co-starring Bill Cosby. It was the third film pairing of Poitier and Cosby, following Uptown Saturday Night (1974) and Let's Do It Again (1975). The films are considered a trilogy, even though the actors play characters with different names in each film. It was also Poitier's last acting role for more than a decade, as he focused his attentions on directing.
Richard Wesley is an American playwright and screenwriter. He is an associate professor at New York University's Tisch School of the Arts in the Rita and Burton Goldberg Department of Dramatic Writing.
Let's Do It Again is a 1975 American action crime comedy film, starring Sidney Poitier and co-starring Bill Cosby and Jimmie Walker among an all-star black cast. The film, directed by Poitier, is about blue-collar workers who decide to rig a boxing match to raise money for their fraternal lodge. The song of the same name by The Staple Singers was featured as the opening and ending theme of the film, and as a result, the two have become commonly associated with each other. The production companies include Verdon Productions and The First Artists Production Company, Ltd., and distributed by Warner Bros. The movie was filmed in two cities, Atlanta, Georgia and New Orleans, Louisiana, where most of the plot takes place. This was the second film pairing of Poitier and Cosby following Uptown Saturday Night, and followed by A Piece of the Action (1977). Of the three, Let's Do It Again has been the most successful both critically and commercially. Calvin Lockhart and Lee Chamberlin also appeared in Uptown Saturday Night. According to the American Film Institute, Let's Do It Again is not a sequel to Uptown Saturday Night.
"How I Got Over" is a Gospel hymn composed and published in 1951 by Clara Ward (1924–1973). Ward's original release sold 1 million copies and is one of the best-selling gospel songs of all time. Other notable recordings of this work have been made by Mahalia Jackson, and the Blind Boys of Alabama. It was performed by Mahalia Jackson at the historic March on Washington for Jobs and Freedom in 1963 before 250,000 people.
Black Hollywood is the third album by hip hop duo Camp Lo, released on July 24, 2007, on Good Hands Records. It was the duo's first album in five years. The album was produced by long-time collaborator Ski, who had produced the majority of the group's first two albums, Uptown Saturday Night and Let's Do It Again. The album features guest appearances from Ski and Jungle Brown, who appeared on the duo's debut. The album's first single was "Black Hollywood".
Buck and the Preacher is a 1972 American Western film released by Columbia Pictures, written by Ernest Kinoy and directed by Sidney Poitier. Poitier also stars in the film alongside Harry Belafonte and Ruby Dee.
In US cinema, Blaxploitation is the film subgenre of action movie derived from the exploitation film genre in the early 1970s, consequent to the combined cultural momentum of the Black civil rights movement, the black power movement, and the Black Panther Party, political and sociological circumstances that facilitated Black artists reclaiming their power of the Representation of the Black ethnic identity in the arts. The term blaxploitation is a portmanteau of the words Black and exploitation, coined by Junius Griffin, president of the Beverly Hills–Hollywood branch of the NAACP in 1972. In criticizing the Hollywood portrayal of the multiracial society of the US, Griffin said that the blaxploitation genre was "proliferating offenses" to and against the Black community, by perpetuating racist stereotypes of inherent criminality.
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Black Dynamite is an American adult animated blaxploitation comedy television series developed by Carl Jones for the Cartoon Network late-night programming block Adult Swim. It is based on the 2009 film of same name, although the series follows an alternate continuity. Michael Jai White, Byron Keith Minns, Tommy Davidson and Kym Whitley reprise their film roles as Black Dynamite, Bullhorn, Cream Corn and Honeybee, respectively. Cedric Yarbrough also reprises his film role as the Western-style pimp Chocolate Giddy-Up, along with Jimmy Walker Jr. as the restaurant owner Roscoe and Arsenio Hall as fellow pimp Tasty Freeze.
American former comedian, actor, author, director, and producer Bill Cosby performed over a period of decades in film, television, and stand-up comedy. His longest-running live-action role was that of Cliff Huxtable in the sitcom The Cosby Show (1984-1992).
First Artists was a production company that operated from 1969 to 1980. Designed to give movie stars more creative control over their productions, the initial actors who formed First Artists were Paul Newman, Barbra Streisand, and Sidney Poitier; later joined by Steve McQueen and Dustin Hoffman. Movies made by First Artists include McQueen's The Getaway and the company's most successful film, Streisand's A Star Is Born.
African American cinema is loosely classified as films made by, for, or about Black Americans. Historically, African American films have been made with African-American casts and marketed to African-American audiences. The production team and director were sometimes also African American. More recently, Black films featuring multicultural casts aimed at multicultural audiences have also included American Blackness as an essential aspect of the storyline.
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