6.7 | / 10 |
Users | 0.0 | |
Reviewer | 3.0 | |
Overall | 3.0 |
A white insurance salesman, Jeff Gerber, gets the surprise of his life when he wakes up and discovers that his skin now resembles a black man's. In day-to-day life, he soon finds himself the victim of discriminatory practices—the same kinds of behaviors that, ironically, he had once used on black people himself. As his wife leaves him and all attempts to explain and reverse the phenomenon fail, Jeff comes to accept and even profit from his new status.
Starring: Godfrey Cambridge, Estelle Parsons, Howard Caine, D'Urville Martin, Mantan MorelandDrama | 100% |
Comedy | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: LPCM Mono (48kHz, 24-bit)
English SDH
Blu-ray Disc
Single disc (1 BD)
Region B (locked)
Movie | 3.0 | |
Video | 3.5 | |
Audio | 4.0 | |
Extras | 2.0 | |
Overall | 3.0 |
There were a number of really interesting and at times kind of subversively provocative black comedians who made at least part of their names in
the sixties, including Bill Cosby, Dick Gregory, Nipsey Russell, and Flip Wilson. Kind of lost in that epochal shuffle is Godfrey Cambridge, who rather
interestingly was named alongside Cosby, Gregory and Russell as an up and coming black* comedian by Time Magazine in 1965. In
some ways at least, Cambridge would seem to have been less likely to embark on a career as a comedian than some of his cohorts as named
above, if only because he actually attended medical school for several years, before deciding performing was more to his liking. Cambridge
received a Tony nomination in the Best Featured Actor in a Play category for Purlie Victorious in 1962, but by that time he had already
appeared, albeit uncredited, in two rather well remembered films, The Last
Angry Man and Splendor in the Grass. A few more bit
parts in various films ensued through the mid-sixties as Cambridge continued to ply his wares as one of the nation’s most successful comedians of
any color, with 1967’s The President's Analyst
arguably giving Cambridge a “breakthrough” role, albeit in a supporting situation, something that would continue for his next few films until a
“double feature” of sorts that came out in 1970 finally offered Cambridge real, honest to goodness, starring vehicles: Cotton Comes to Harlem (co-written and directed by the writer of
Purlie Victorious, Ossie Davis) and Watermelon Man, which was the only major studio film from a guy who might be thought of as
his generation’s Ossie Davis, Melvin Van Peebles.
*The magazine actually used the then au courant term "Negro", which is utilized pervasively throughout this film as well.
Watermelon Man is presented on Blu-ray courtesy of Powerhouse Films' Indicator imprint with an AVC encoded 1080p transfer in 1.85:1. This is a really nicely vivid and well saturated looking presentation for the most part, something that helps to support the kind of mod styles that are on display in some of the women's clothing in particular. Fine detail on admittedly mundane items like the tile on the floor of the Gerbers' bathroom is typically nicely precise looking. Cambridge's makeup in the early part of the film isn't especially helped by the increased resolution of this Blu-ray, but even here, elements like his bristly wig have good textural detail levels. The palette can occasionally tip slightly toward red-pink levels, but primaries tend to look rather good throughout, all things considered. Grain resolves naturally throughout the presentation.
Watermelon Man features a nice sounding LPCM Mono track that capably supports the film's dialogue and some nice, funky music courtesy of Van Peebles himself. No signs of age related wear and tear, or any distortion or damage, were noticed. Optional English subtitles are available.
Watermelon Man probably seemed considerably more provocative in 1970 than it does today, but the film offers good showcases for Godfrey Cambridge and Estelle Parsons, and some of the supporting cast is goofily enjoyable as well. I think the film would have been much more effective if it had really gone for the jugular, but instead it comes off as a kind of silly sitcom pilot at times. Technical merits are generally solid and the supplementary package slight but enjoyable, for those who are considering a purchase.
1970
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2016
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1970
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1969
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