Mario Van Peebles portrays his father Melvin in "Baadasssss!" an exciting and politically charged tribute about the making of the classic film, "Sweet Sweetback’s Baadasssss Song," which ushered in the blackploitation films of the 1970s. It also became the most successful independent movie made at that time, increasing the vitality of Independent films.

It’s odd that Peter Biskind’s best selling book on Independent Films, "Easy Riders, Raging Bulls," seems to have been blind to "Sweetback," in that the film was totally omitted from the discussion, as if it were a non-event.

Melvin Van Pebbles was the Spike Lee of the Vietnam and Civil Rights struggle era of the 1960s and 70s. As in Lee’s movie "Bamboozled," Melvin’s "Sweetback" mixed humor, romance and irreverence among images of black folks. Mario’s film, "Baadasssss!" captures that as well as the larger personal and political struggles faced by black filmmakers at that time. What we liked best about "Baadasssss!" was its historical relevance that was entertaining from beginning to end. The dialogue stings with political wit that is as sharp as any Spike Lee or Oliver Stone can come up with.

With Mario in the role of Melvin, "Baadasssss!" chronicles the making of "Sweetback," which proved to be "a long and protracted struggle" (as they used to say back in the day). Bill Cosby and Maurice White (of Earth, Wind and Fire, who did the music for "Sweetback") are two notable folks who make appearances here because they were involved in that effort.

We see that Melvin wanted to make a picture to follow up his smash hit "Watermelon Man," starring Godfrey Cambridge; a comedy with the tag line "The Uppity Movie." It was a big hit for Columbia Pictures and they offered Van Peebles a three-picture deal. However, after Melvin developed the screenplay, Columbia turned it down as too controversial. Melvin refused to back off and he lost his deal. None of the studios wanted to make the type of film he had in mind. African Americans could make a movie that got wide distribution only if it was based in slapstick humor. Say something political with an edge and the studios turned a deaf ear. Now, Melvin had to find the money to make the film. As an indie he’d have to also look for a distributor and a promoter as well.

Melvin turned down prospective backers who wanted sexual favors from him or a subservient attitude. He finally found some hippie investors that looked real good…at least for awhile. By the time that source fell through, he had recruited his cast and was ready to begin shooting in three days. When things were looking extremely bleak, he decided to, as they say, "bet the ranch" on making the movie. Van Peebles thought he was in the bottom of hell but he didn’t realize there were a few more trap doors yet to be discovered.

Melvin holds colorful conversations, sometimes with himself, sometimes with others, like his administrative assistant Priscilla (Joy Bryant of "Antwone Fisher"). She is known for her grand entrances into a room. "Baadasssss!" is full of interesting characters, who deliver outstanding performances, such as Khleo Thomas of "Holes," as young Mario, Nia Long ("Boiler Room"), comedian David Alan Grier and the legendary actor, Ossie Davis.

Eventually, "Sweetback" was completed. Now it had to be edited. By this time, Melvin was going blind in one eye, which explains the source of his infamous eye patch. After the film was in the can, he worked to promote it. He approached every distributor possible and found a small one that was able to arrange his world premier in Detroit, which eventually put him over the top.

"Sweetback" is credited with not only opening doors for non-comedic roles for blacks in front of the camera but for professionals behind the scenes as well. Now mainstream movies like "The Italian Job" and "King Arthur," which opens on July 7, are headed by black directors. Many filmmakers of today clearly owe Melvin their respect and their livelihood. Prior to "Sweetback" films by black directors that were dramatic or political were the "race films," which played only in black neighborhood theaters or community centers (e.g., Oscar Micheaux’s Within Our Gates). Even when the films were successful, making the big money was not possible because of the limited size of the audience.

"Baadasssss!" is a movie about a lot of things: what it takes to be a successful moviemaker (somewhat like "Lost in La Mancha"); and relationships between people of color and whites 30 years ago. The father and son bond for a lifetime is very important, and the fact that before you can pursue your dream, you must first be awake enough to have one. You must have a plan you believe in so strongly that you are willing to die for it. Sometimes you only stop trying when you have either won or lost.

The working title of the "Baadasssss!" was "How to Get the Man’s Foot Outta Your A—," which very accurately describes what the movie is about. The focus is clearly the challenges faced by a black person. However, look slightly beneath the surface and you’ll see a universal story. In 2004, jobs are an issue with respect to outsourcing. The corporate fat cats are just as much the "Man" now as they were 30 years ago. The story is both the same and different. In this century the intended victims are not as much separated by race as by class. It’s all about the Benjamins (money) and the power. The clever design is that people with power and money would rather that those without it focus on each other than them.

Melvin, in 1971, and his son Mario, with "Baadasssss!" reiterates and adds emphasis, to tell us something that we may not understand ¾ but it’s way past time to find out.