Woodyanders
Proud black man and small-time criminal Charles Murray (played with fierce intensity by Marlo Monte) does hard time in prison in the wake of being brutalized by vicious corrupt racist cop Harry (a spot-on hateful portrayal by Ben Bigelow). After being released from the joint, Charles utilizes a peculiar means of exacting a harsh revenge on those responsible for his incarceration. Writer/director Jamaa Fanaka vividly captures the raw'n'funky reality of sordid hood life in the mid-1970's, makes nice use of squalid urban locations, relates the offbeat, but still engrossing story at an unhurried pace, and presents a colorful array of seedy low-life characters. Moreover, this film reaches its gloriously surreal highlight with the jaw-dropping scene in which Charles strangles a guy with his elongated penis (!). Reatha Grey adds plenty of spark as sassy hooker Carmen. Stan Kamber also registers well as easygoing police officer Jim. James Babij's rough'n'grainy cinematography gives this picture a strong feeling of grungy verisimilitude. William Anderson's discordant acid jazz score does the groovy trick. Recommended viewing for those seeking something different.
John Seal
It's a damn dirty shame that it's impossible to see the uncut version of Welcome Home, Brother Charles, because what's left of it is tantalizing indeed. Long considered a trash anti-classic, its reputation is well deserved--but there's much more to it than just a giant stunt penis. The first half hour of the film is as good as anything done by Melvin Van Peebles in his overrated Sweet Sweetback's Baadasssss Song, and there are moments that are the equal of Charles Burnett's Killer of Sheep. Really. The tone changes in the second half of the film, but Fanaka's message--that the white man has spent the last few hundred years trying to emasculate the black man--couldn't be clearer. That said, the second half is damaged by what appear to be severe cuts, and Charles becomes a less interesting character when revenge becomes his primary goal. Regardless, this is a film well worth seeing, if only for the amazing score, which blends elements of funk, blues, jazz, and avant garde music to sometimes brilliant effect. Let's hope that Jamaa Fanaka has a complete print safely stashed away in his basement.
FieCrier
Somewhat watchable blaxploitation film, though it's pretty bad (and I don't mean BAAD).The movie starts with a shot against a black background of an African-like carving of a man with a disproportionately large penis. It's not seen again in the movie.A drug dealer gets caught by the police and the arresting officer cuts his manhood with a blade. He spends three years in prison, depicted by a black and white photo montage, and short black and white clips.After he's released, nothing of his old life remains. He moves in with a sympathetic hooker who'd witnessed his arrest. He vows revenge on the people who put him in prison.Towards the end, he delivers on that vow. When the wives of his intended victims see his manhood now, they're automatically his to use for sex and to brainwash. He can also cause it to lengthen to several yards long, and use it to strangle men who've done him wrong. It's weird the way the movie springs this on us, without giving us any indication that he knew he had that power.
nefnet
This film is a gem! Everything within Brother Charles (or Soul Vengeance as I saw it) adds to its effect-- jittery camerawork, sound so murky that most dialogue can't be understood, some really out there dancing and of course, weird action. And boy do I mean weird. Fanakaa obviously was trying for some kind of visual metaphor in this film, but its comic effect overshadows any pretense of seriousness the film may or may not contain. Fans of the genre MUST NOT miss out on this one.
AD
