Sweet Sweetback%27s Baadasssss Song full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

A young African American orphan (Mario Van Peebles) is taken in by the proprietor of a Los Angeles brothel in the 1940s. While working there as a towel boy, he is raped by one of the prostitutes at a young age. The women name him "Sweet Sweetback" in honor of his sexual prowess and large penis. As an adult, Sweetback (Melvin Van Peebles) works as a performer in the whorehouse, entertaining customers by performing in a sex show.

One night, a pair of white LAPD officers come in to speak to Sweetback's boss, Beetle (Simon Chuckster). A black man has been murdered, and there is pressure from the black community to bring in a suspect. The police ask permission to arrest Sweetback, blame him for the crime, and then release him a few days later for lack of evidence, in order to appease their superiors. Beetle agrees, and the officers arrest Sweetback. On the way to the police station, the officers also arrest a young Black Panther named Mu-Mu (Hubert Scales). They handcuff him to Sweetback, but when Mu-Mu insults the officers, they take both men out of the car, undo the handcuff from Mu-Mu's wrist, and beat him. In response, Sweetback fashions his handcuffs into a pair of brass knuckles and beats the officers, putting them both into comas.

Sweetback returns to the whorehouse for help, but Beetle refuses out of fear of being arrested himself. As Sweetback leaves, he's arrested and violently interrogated by the police, but escapes when a black revolutionary throws a molotov cocktail at the police car transporting him to the station. He next visits an old girlfriend (Rhetta Hughes), who similarly refuses him aid but agrees to cut his handcuffs off in exchange for sex. Sweetback then asks for help from his priest, but he, too, refuses for fear of the police shutting down the drug rehab center he runs out of the church's attic.

Two police officers torture Beetle for his whereabouts, rendering him deaf by firing a gun beside his ears. As Sweetback continues to evade arrest, pressure mounts on the LAPD to capture him; after uttering a racial slur at a press conference, the police commissioner encourages two black detectives to hunt him down. Later, a now wheelchair-bound Beetle is brought to the morgue to identify a body believed to be Sweetback; he mocks the officers when it turns out to be another man.

Sweetback reunites with Mu-Mu and the pair make their way through South Central Los Angeles towards the United States–Mexico border. Stopping for the night at a seemingly abandoned building, the men discover that it's a safe house for a chapter of the Hell's Angels, whose female president agrees to help them in exchange for sex. Afterwards, the bikers take the men to their club to await the arrival of a member of the East Bay Dragons. In the middle of the night, the club is raided by the police, and Sweetback kills two officers in self-defense. The next morning, the Dragon (John Amos) arrives, but only has room on his motorcycle for one man; Sweetback asks him to take Mu-Mu.

Sweetback pays a hippie to switch clothes with him, distracting the police when they send a helicopter in pursuit of the man through the desert. The police find Sweetback's biological mother, who reveals that Sweetback's birth name is Leroy. As Sweetback approaches the border, the police become desperate, and force a farmer to let them take his hunting dogs to send after Sweetback. The chase concludes in the Tijuana River, where Sweetback kills two of the dogs and escapes into Mexico, swearing to return to "collect some dues".

• Melvin Van Peebles ... Sweetback
• Hubert Scales ... Mu-Mu
• Simon Chuckster ... Beetle
• John Dullaghan ... Commissioner
• West Gale
• Niva Rochelle
• Rhetta Hughes ... Old Girl Friend
• Nick Ferrari
• Ed Rue
• John Amos ... Biker (as Johnny Amos)
• Lavelle Roby
• Ted Hayden
• Mario Van Peebles ... Young Sweetback / Kid (as Mario Peebles)

During production on Watermelon Man for Columbia Pictures, Van Peebles attempted to rewrite the script in order to change it from a comedy poking fun of white liberals into the first black power film. The writer, Herman Raucher, who had based the script on friends of his who expressed liberal sentiments while still holding onto bigoted beliefs, objected to Van Peebles' efforts because he felt that the movie should be a parody of liberal culture. Raucher ultimately exercised a clause in his contract that allowed him to novelize his own script, effectively preventing Peebles from too radically changing the film.

After Watermelon Man proved to be a financial success, Van Peebles was offered a three-picture contract. While the deal was still up in the air, Van Peebles- still wanting to create the first black power film- developed the story for Sweet Sweetback's Baadasssss Song. The initial idea for the film did not come clearly to him at first. One day, Van Peebles drove into the Mojave desert, turned off the highway, and drove over the rise of a hill. He parked the car, got out, and squatted down facing the sun. He decided that the film was going to be "about a brother getting the Man's foot out of his ass." Because no studio would finance the film, Van Peebles put his own money into the production, and shot it independently. Van Peebles was given a $50,000 loan by Bill Cosby to complete the film. "Cosby didn't want an equity part," according to Van Peebles. "He just wanted his money back." Van Peebles wound up with controlling ownership of the film. Several actors auditioned for the lead role of Sweetback, but told Van Peebles that they wouldn't do the film unless they were given more dialogue. Van Peebles ended up playing the part himself.

According to Van Peebles, during the first day of shooting, director of photography and head cameraman Bob Maxwell told him he could not mix two different shades of mechanical film lights, because he believed the results would not appear well on film. Van Peebles told him to do it anyway. When he saw the rushes, Maxwell was overjoyed, and Van Peebles did not encounter that issue again during the shoot. Van Peebles shot the film over a period of 19 days in order to avoid the possibility of the cast, most of whom were amateurs, showing on some days with haircuts or clothes different from the prior day. He shot the film in what he referred to as "globs," where he would shoot entire sequences at a time. Because Van Peebles couldn't afford a stunt man, he performed all of the stunts himself, which also included appearing in several unsimulated sex scenes. At one point in the shoot, Van Peebles was forced to jump off a bridge. Bob Maxwell later stated, "Well, that's great, Mel, but let's do it again." Van Peebles ended up performing the stunt nine times. Van Peebles contracted gonorrhea when filming one of the many sex scenes, and successfully applied to the Directors Guild in order to get workers' compensation because he was "hurt on the job." Van Peebles used the money to purchase more film.

Van Peebles and several key crew members were armed because it was dangerous to attempt to create a film without the support of the union. One day, Van Peebles looked for his gun, and failed to find it. Van Peebles found out that someone had put it in the prop box. When they filmed the scene in which Beetle is interrogated by police, who fire a gun next to both of his ears, it was feared that the real gun would be picked up instead of the prop. While shooting a sequence with members of the Hells Angels, one of the bikers told Van Peebles they wanted to leave; Van Peebles responded by telling them they were paid to shoot until the scene was over. The biker took out a knife and started cleaning his fingernails with it. In response, Van Peebles snapped his fingers, and his crewmembers were standing there with rifles. The bikers stayed to shoot the scene.

Van Peebles had received a permit to set a car on fire, but had done so on a Friday; as a result, there was no time to have it filed before shooting the scene. When the scene was shot, a fire truck showed up. This ended up in the final cut of the film.

Directing

Van Peebles stated that he approached directing the film "like you do the cupboard when you're broke and hungry: throw in everything eatable and hope to come out on top with the seasoning, i.e., by editing." Van Peebles stated that "story-wise, I came up with an idea, why not the direct approach. ... To avoid putting myself into a corner and writing something I wouldn't be able to shoot, I made a list of the givens in the situation and tried to take those givens and juggle them into the final scenario."

Van Peebles wanted "a victorious film ... where niggers could walk out standing tall instead of avoiding each other's eyes, looking once again like they'd had it." Van Peebles was aware of the fact that films produced by major studios would appear to be more polished than low-budget independently made features, and was determined to make a film that " as good as anything one of the major studios could turn out."

Van Peebles knew that in order to spread his message, the film "simply couldn't be a didactic discourse which would end up playing ... to an empty theater except for ten or twenty aware brothers who would pat me on the back and say it tells it like it is" and that "to attract the mass we have to produce work that not only instructs but entertains". Van Peebles also wanted to make a film that would "be able to sustain itself as a viable commercial product ... ain't about to go carrying no messages for you, especially a relevant one, for free."

Van Peebles wanted half of his shooting crew "to be third world people. ... So at best a staggering amount of my crew would be relatively inexperienced. ... Any type of film requiring an enormous technical sophistication at the shooting stage should not be attempted." Van Peebles knew that gaining financing for the film would not be easy and expected "a great deal of animosity from the film media (white in the first place and right wing in the second) at all levels of filmmaking", thus he had to "write a flexible script where emphasis could be shifted. In short, stay loose."

Editing

The film's fast-paced montages and jump-cuts were novel features for an American movie at the time. Stephen Holden from The New York Times commented that the film's editing had "a jazzy, improvisational quality, and the screen is often streaked with jarring psychedelic effects that illustrate Sweetback's alienation." In The 50 Most Influential Black Films: A Celebration of African-American Talent, Determination, and Creativity, author S. Torriano Berry writes that the film's "odd camera angles, superimpositions, reverse-key effects, box and matting effects, rack-focus shots, extreme zooms, stop-motion and step-printing, and an abundance of jittery handheld camera work all helped to express the paranoid nightmare that life had become."

Music

Since Van Peebles did not have the money to hire a composer, he composed the film's music score himself. Because he did not know how to read or write music, he numbered all of the keys on a piano so he could remember the melodies. Van Peebles stated that "Most filmmakers look at a feature in terms of image and story or vice versa. Effects and music are strictly secondary considerations. Very few look at film with sound considered as a creative third dimension. So I calculate the scenario in such a way that so