Motherfucking Dolemite

1 Feb

There are few entertainers as diverse and eccentric as Rudy Ray Moore, aka Dolemite. Rudy began as an R&B singer, but after a favorable reception while performing for his fellow servicemen in the Army, he developed a strong comedy routine, mainly based around raunchy one-liners and put downs. X-rated material kept him off television, but Moore developed a strong following, particularly in Black clubs around the country. He released around thirty albums combining music and filthy jokes which were wildly popular. One of his common routines was that his dick was somehow so mind-blowing, women would spontaneously shit when he slid it inside them.

Moore was also an accomplished actor, and was featured in about twenty movies, starring in most of them. Most of his recent features bear no scrutiny, but he was featured in the Insane Clown Posse’s movie Big Money Hustlas as Dolemite for was was the first time in twenty years. Then Moore shit in the Dolemite franchise by making real shitfests like Shaolin Dolemite. Really, when enjoying Dolemite–and you will enjoy Dolemite, I guarantee it–there are three movies to view. The Dolemite Trilogy, I call it, and it is as follows:


1. The Human Tornado, 1976
Mainstream America was introduced to the character of Dolemite in the 1975 movie Dolemite, a fairly serviceable Blaxploitation film about a pimp who gets set up and enacts his revenge. It’s a pretty kick-ass movie, but it doesn’t hold a candle to its sequel, The Human Tornado. The film isn’t easy to describe, the plot is about how Dolemite, while running from a racist cop’s homicide prosecution, saved his friend and club owner Queen Bee from slavery at the hands of a rival club owner, and also rescued her dancers from a torture chamber in Pasadena. That sentence doesn’t do the movie justice, however, really the movie has something for everyone: comedy, action, drama, sex, dancing, music, and even a Brazilian guy with nunchucks. The kung fu fighting is really something to behold, and the soundtrack is absolutely awesome. In fact, Landspeed records re-released it recently, so be sure to pick it up if you like dirty funk music.


2. Petey Wheatstraw, the Devil’s Son-in-Law, 1977
During a vicious lightning storm, a severely pregnant woman gives birth first to a watermelon, and then to a nine year-old boy who attacks the delivering doctor and then pounces on his own father for “stabbing me in my sleep.” And that’s all before the opening credits. Petey Wheatstraw, the Devil’s Son-in-Law is a more plot-heavy movie than The Human Tornado, and follows a similar structure to most three-act plays. Petey Wheatstraw makes a deal with Satan to best the rival comic team of Leroy & Skillet, and then tricks the devil who wants Petey to marry his hideous, demonic daughter. The real devil here is in the details (har har), as Moore showcases some of his best comedy as well as the talents of other Black comics in his circuit. FYI, this soundtrack is pretty fabulous as well.


3. Disco Godfather, 1979
I seem to recall this movie was called The Avenging Disco Godfather when I first saw it around twenty years ago (sigh), but all internet evidence points to the contrary. In any case, Disco Godfather is definitely the most esoteric of The Dolemite Trilogy, and has the most experimental camera work and what could pass for special effects of the three films. It’s about a retired cop who tears up the disco club and the streets, cleaning house of the prolific PCP dealers that got his nephew hooked. Or something like that. All I remember is the last scene, where Rudy Ray Moore is forced to take PCP via a gas mask and endures the longest, most surreal hallucination scene in any movie. It’s worth sitting through for that payoff alone. And the soundtrack? Surprise, it’s fantastic!

One Response to “Motherfucking Dolemite”

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  1. If You Don’t Watch These Movies, You’re Racist « Defending Regicide - February 15, 2011

    […] Style Wars, 1984 Of the four movies presented in this essay, Style Wars can be said to be the most “real,” in that it is a documentary instead of a fictionalized account of hip-hop culture. Originally planned as a documentary about break dancing, producers Tony Silver and Henry Chalfant began concentrating more on graffiti and rapping as the fad of break dancing started to die down (this film, along with Flashdance, helped revive it for a little while in the mid-eighties). You don’t have to be a fan of hip-hop to enjoy this engaging and well-made documentary, so quotable that some of my friends and I can speak solely in Style Wars language. We greet each other with “Gigolo! What you know?!” and describe a weekend plan as “everybody getting united at the bench, 149th Street, Grand Concourse.” This is probably my second favorite movie of all time after The Human Tornado. […]

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