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Review Uploaded
06/27/03

1 hr. 44 mins.
Starring: Isaac Hayes, Richard Pryor, The Staple Singers, Rufus, Albert King, Bar-Kays, Carla Thomas, Johnny Taylor and many more…
Directed by: Mel Stuart

Rating: *** ½ (out of 4 stars)

The Isaac Hayes’s finger-snapping number “Soulsville” certainly describes Mel Stuart’s exuberant but nearly forgotten three-decade old documentary Wattstax. Stuart’s Nubian nostalgic narrative will take folks back to a time where the creative forces of soulful black music (courtesy of the Memphis-based Stax Records recording stars) came together in one incredible concert setting at the LA Coliseum in 1972. The festive atmosphere generated a sense of black pride that captured the social growth of a people and their self-awareness as witnessed obviously by the ebony-related penetrating music, hairstyles, wardrobe and overall feeling of togetherness. Wattstax was more than just an elaborate musical gathering of gifted energetic artists out to corral a spirited mood-it was an undeniably ultimate black lyrical experience.

The early seventies was an appropriate time for Afro-eccentric momentum coming off of the cusp of racial turmoil just spilled over from a few years before, specifically pinpointing the strife of the 1965 Watts riots. Naturally the Stax-produced concert-cleverly nicknamed “the Black Woodstock”-was an empowering event that motivated the masses to come together and recognize their ethnicity through soothing and rousing tunes that reflected the sentiment of black disillusionment that existed in chaotic America. On a positive level, it also reinforced the dignity and determination of black America to stand up and celebrate their self-worthiness as well as sound off at their continuous frustrations. In many ways, Stuart (Willy Wonka and the Chocolate Factory) produces a liberating entertainment that transcends beyond the creative juices of the musical vibes. This is indeed a potent social commentary and the Stax superstars and their inspirational musical messages merely serve as a convenient landscape to color a profound portrait of emotional wounds that need tending.

The sole purpose behind Wattstax was to raise funds for African-American charities and help out the cause in piecing together a deteriorating Watts community plagued by all sorts of pending disenchantment. In an effort to confront this particular “war”, the Stax record label paraded out their finest singing soldiers with luminaries such as Isaac “the Black Moses” Hayes, the Staple Singers, Albert King, Rufus Thomas and many more stars from the collective Southern stable of vocalists. Stuart was intuitive enough to film the animated performances on stage for his melodious documentary.

In addition to linking himself (and we as the audience not fortunate enough to be inside that packed high-spirited function) to the sweet-sounding stadium, Stuart was also savvy to include a slew of miscellaneous moments that told a whole other story in reference to the elaborate Watts-related jubilee. We can see a young Richard Pryor doing his explosive stand-up routine where he delivers his usual frank and acerbic wit about the goings-on of complicated black life. Stuart is also inquisitive in his quest for the meaning of “black expression” and decides to canvas the Watts area for an honest perspective by that community’s weary residents. And some of the residents do oblige him with their realistic take on what it’s like to be trapped in the lingering poverty that surrounds them with virtually no hope in sight. The revelation is disheartening yet intriguing and Stuart encourages the factious discussion that was considered quite risqué for that time. The shock value of what some of these people had to express in terms of their chaotic existence is indeed probing but some in these contemporary times might dismiss the dissension as tame and passé. But remember, this brand of plight was deemed brazenly divisive some thirty years ago.

Wattstax is really riveting when Stuart pins down the fist-thumping black theme of the festivities meant to instill confidence and courageousness in the giddy crowd’s consciousness. When the Afroed and dashiki-wearing Jesse Jackson gets the massive audience involved in the symbolic “I am somebody!” cry or Kim Weston eerily croons out the uplifting Black National Anthem of “Lift Every Voice and Sing”, one cannot fight back the surge of chills that would help usher in this self-discovering musical journey of black recognition. Mingled in the mix are an array of relatively unknown but powerful performers such as gospel great Rance Allen singing his heart out with conviction. Of course, the main dish is served when the concert concludes with the pronounced pipes of Soul Brother extraordinaire Isaac Hayes as the gold-chained Groovy One sings his Oscar-winning signature tune “The Theme from Shaft” as well as the aforementioned “Soulsville”.

Stuart may be guilty of mixing in some scattershot scenes that don’t always gel smoothly with the overall feeling of the revealing concert in session. In fact, a decent portion of the artists who deliver their music enthusiastically are at other venues and don’t share in the communal celebration at the coliseum. For instance, The Emotions are found singing gospel music in church while Johnny Taylor does his act in some unidentified nightclub. Plus, there may be a sidetrack sequence in which topics like the blues may be chatted about in an effort to go a different direction. Sure, this does give somewhat of a choppy feeling to the otherwise stimulating flow of the concert filming. Still, Stuart’s unconventional interruptions aren’t considered too intrusive to the point that the jolting concert sequences are jeopardized.

Today’s rebellious youth, particularly young Black America, think that they are part of an emphatic revolutionary musical movement that defines their times and sense of being in the renegade feistiness of rap/hip hop. Hey, that may very well be the case according to the current climate under which they exist thanks to the timing of their birthright. However, it would be very educational if not historical for them to check out the old-school of meaningful vocal forethought in how being daring and expressive was really all about as the notable concert footage in Wattstax can attest to in all its stinging soulful poignancy.

Stuart’s musical movie does more than patch together a string of performers and their product that they vibrantly bring to the world stage. Wattstax is about maintaining an identity of a distinctive people who must realize that unity isn’t just a fashionable slogan but a way of livelihood through song and salvation. After thirty years since its initial release, young and old music enthusiasts alike should revisit an era where black music embodied the rhythmic texture of one’s indelible psyche. Soul isn’t only a “black state of mind”-it’s a universal feeling for all those that welcome this kind of euphoria with opened arms. Refreshingly, the ‘70s Black Power sentiment that spearheads this stylish funky forum is infectious.

You said it, Isaac…welcome to “Soulsville”.