F Gwynplaine MacIntyre I watched a videotape of 'Minstrel Man' in the archives at the Museum of Television & Radio. This brilliant musical drama is not 'lost'; Viacom have the home-viewing rights, and it's a shame that they choose not to release 'Minstrel Man' on video or DVD. Viacom are probably concerned that this movie will be criticised as racist: in fact, 'Minstrel Man' is a thoughtful and intelligent film AGAINST racism.We're aware that old-time white performers often 'blacked up' in burnt cork to portray caricatures of (to use the old term) Negroes. Few people today are aware that -- in the days of segregation -- black performers were ALSO required to wear blackface when performing for white audiences; most theatre managers refused to hire black acts that didn't look like ridiculous self-caricatures.'Minstrel Man' is fiction but (mostly) sticks close to the historical record, featuring characters who are based on real people. The press kit for 'Minstrel Man' states that the fictional Rennie Brown seen here is meant to be a composite of several early ragtime composers.In the late 19th and early 20th century, there was an entire genre of popular songs performed by white singers in blackface and by blacks who were willing to demean themselves. Sad to say, these tunes were known as 'coon songs', and some typical titles included 'Two New Coons in Town', 'Bon-Bon Bennie, the Chocolate Drop' and 'If the Man in the Moon Was a Coon'. The lyrics may be left to your imagination. I was faintly astounded that the lead actors in 'Minstrel Man' perform authentic excerpts from several of these notorious 'coon songs'. It's a brave gambit -- and very likely the single biggest reason why this TV movie has been kept in video limbo ever since -- but it's exactly the right decision, showing modern audiences precisely what sort of material black performers were required to offer to white audiences, if they wanted to work at all.One detail which 'Minstrel Man' gets wrong: we see the Negro performers putting on their make-up, applying huge white rings around their eyes as well as whitening their lips. They also tie their nappy hair into weird clumps and horns, poking above their heads like the demented corn-rows of so many Topsies in 'Uncle Tom's Cabin'. I've seen at least a hundred African-American performers' photos from that period; the hair business seen here was very uncommon, and none of those performers whitened their eye sockets like the ones shown here. The blackface performers did, though, give themselves huge white lips of the type we now associate with Al Jolson.Glynn Turman and Stanley Bennett Clay are cast as Harry and Rennie Brown, two African-American brothers with showbiz in their hearts but the misfortune to live in segregation days: shortly before World War One. I'm familiar with Glynn Turman's acting career, but Stanley Bennett Clay is a revelation to me: he gives a brilliant multi-toned performance here, so why hasn't he become better known?Rennie (Clay) is resentful of the stereotyping which bigoted white audiences inflict on black performers. The more easy-going Harry (Turman) resents it too, but feels they have no option except to 'go along to get along'. Maybe if enough audiences like them, they can gradually make the audiences accept something more dignified. The Brown brothers' act struggles at first. Then the troupe is joined by Charlie Bates (a stand-out performance by Ted Ross), and things start to happen. Turman and Ross give excellent (and authentic) renditions of 'Two New Coons in Town' and other material from the period. The all-black minstrel troupe develops into a full-scale minstrel show, with Bones and Tambo as the end men, and Harry as interlocutor.A tremendous asset of 'Minstrel Man' is the authentic period score ... although, again, it's probably those 'coon songs' which have kept this movie unavailable for home-video. The single biggest defect of this same TV movie is one modern ballad written by Fred Karlin for this production, sung by the character portrayed by Saundra Sharp. Somebody tried to slip this ringer in among the earlier compositions, but it's a dead giveaway: Sharp performs this ballad with all the modern pop-music tricks (melisma and swooping gospel flourishes) that audiences in the 1910s and 1920s would never have tolerated.As the minstrel troupe become more successful, Rennie wants to uplift their material ... abandoning the blackface, and offering more sophisticated music. Rennie has been experimenting with a new syncopated rhythm: something called ragtime. Harry isn't sure if white audiences will like it. To give his brother a chance, Harry leads the troupe in one performance without the blackface, with the new music and without Bones and Tambo. The result is a disaster.SPOILERS. Stanley Bennett Clay's brilliant performance becomes electrifying as Rennie starts to lose his sanity: an understandable plight for any black person in a segregated world. When Harry orders the troupe back into 'traditional' (blackface) mode, Rennie responds by showing up onstage in whiteface ... and telling a riddle about 'rednecks' which sounds faintly anachronistic.There is tragedy here -- the last shot of Rennie is unforgettable -- but there is ultimately some triumph too, in a realistic ending with hope of better things ahead for blacks and for all Americans. I usually dislike the cliché of ending a movie with a freeze-frame, but the final shot here -- of Glynn Turman triumphantly performing a flying forward split, WITHOUT blackface -- is an absolute rouser.The traditional opening line in a minstrel show (after the walk-around) was 'Gentlemen, be seated.' Instead, I'll say to the people who made this TV movie: 'Ladies and gentlemen, stand up and take a bow!' My rating for 'Minstrel Man': a perfect 10 out of 10. Now, let's lobby Viacom to release this for home viewing.

Jay Fenton I've read a number of comments here on the IMDb about the 1977 MINSTREL MAN being "lost". I'm unsure about Mr. Cosby's involvement, but I doubt he would try to suppress a film that has an undeniably positive view of African-Americans, especially with that extraordinary and uplifting ending.The original producing company, Viacom (assuming they still hold the copyright) is still in existence and highly successful. Even if it has lost the copyright, I can guarantee you that this film does indeed exist and is not "lost". Why it hasn't been made available to the public via DVD is probably because few people know about it. It is after all thirty years old this year-----------and most people aren't interested in a film-----------let alone a TV film---------that is older than a year or so.I agree with the posters who say this is one of televisions finest moments, and hopefully someday it will become available to all of you.Jay Allan Fenton

bterry-1 For more than two decades, I have searched for my favorite movie, The Minstrel Man (1977), to be either televised or made available for purchase. An excellent performance was done by the cast of this film. This is a "heart-gripping" movie, that defines the inhumanity and positive evils of racism. This film exhibits Black Americans, as working, inventive, compassionate and creative human beings through horrific adversities, and yet they defy to totally release their integrity.The Entertainment Industry has the audacity to act insulted by acusations like, "it is directly or indirectly at fault for creating and perpetuating monsters in the world". You are surely mentors of today's media. This is a small opportunity to right a big wrong.I guess I answered my Summary?!

mengel It's too bad this TV movie has gotten lost and is unavailable on video--Maltin used to list it, and called it "outstanding". A touring minstrel company in the early part of the twentieth century is the focus; its experiences are used to dramatize the reality of racial relations in America; it resonates even today. It is honest, funny, and tragic. Somebody reissue it!