Bill Gunn's STOP to screen in Brooklyn on April 4th!

We're thrilled to report that a VHS copy of Bill Gunn's STOP (#5 on our seemingly neverending "Endangered List") will be screened for free at the Brooklyn Academy of Music (BAM) on Sunday, April 4th as part of a terrific 4-day retrospective of Gunn's challenging, powerful, and fascinating body of film work. As far as we know, this will be the first public screening of STOP in 20 years [More details can be found below and here].


BAMcinématek presents
The Groundbreaking Bill Gunn

Thursday, April 1
PERSONAL PROBLEMS (1980)
@7pm

Written by Ishmael Reed
Directed by Bill Gunn
with Vertamae Grosvenor, Walter Cotton, Sam Waymon, Ishmael Reed

A pioneering video work, which premiered at the Centre Georges Pompidou in Paris, and screened on WNYC in New York, is self-described by writer Ishamel Reed as an "avant-garde soap opera...which permitted black producers, a black director, black actors, and black writers and actresses to have control over their work."


Friday, April 2
GANJA & HESS (1973) -- Introduced by Pearl Bowser
@6:50, 9:15pm

Written and directed by Bill Gunn
with Duane Jones, Marlene Clark, Bill Gunn, Sam Waymon

"Ganja & Hess is jolting, jagged, lyrical, mythic and utterly unclassifiable, as avant-garde as the most independent film of today or any of the New American Cinema work from the 1960s or audacious studio films of the 1970s, with resonances one isn’t likely to encounter ever again.” — Hammer to Nail

Cult hero Duane Jones (star of Night of the Living Dead) plays a doctor who, after traveling through Africa, takes on the characteristics of a vampire. A hard-to-find masterpiece of 70s American cinema, the film is a complete original, mind-bending and brutal. “One of the most beautiful and unusual films ever produced in the United States.” —Ishmael Reed


Saturday, April 3
THE LANDLORD (1970)
@2, 4:30, 6:50, 9:15pm

Screenplay by Bill Gunn
Based on the novel by Kristin Hunter
Directed by Hal Ashby
with Beau Bridges, Lee Grant, Diana Sands, Pearl Bailey

“Something like a Marx Brothers movie charged up on LSD and left-wing politics… a compelling and adventurous spectacle, which feels simultaneously like a time capsule and a crucial influence on such recent films as The Royal Tenenbaums and Half Nelson.” — Salon

WASP-y rich kid Elgar Enders (Bridges) buys an apartment building in then-gritty Park Slope with plans to evict the current residents and turn it into a ritzy home for himself. When the black tenants refuse to move out, however, Enders is launched into a series of comic misadventures that begin to change his outlook on life and attitude about race. Hal Ashby’s pointed comedy strikingly predicts contemporary concerns regarding gentrification and presents a nuanced, daring exploration of race relations in America that is surprisingly ahead of its time.


Sunday, April 4
STOP (1970) -- Free screening on VHS
@2pm

Written and directed by Bill Gunn
with Marlene Clark, Richard Dow, Edward Bell, Linda Marsh

An emotionally violent poet and his wife leave their snowy confines and head to San Juan, their marriage imploding. Filmed in languorous soft light, the images turn from dreamlike to hallucinogenic when another couple enters their orbit. One of the first studio films by an African-American director, yet unique by not focusing on race, having an experimental narrative and introducing a homosexual element new to the period. Perhaps all reasons it was never released. Free screening presented on video.


THE ANGEL LEVINE (1970)
@4:30, 6:50, 9:15pm

Screenplay co-written by Bill Gunn
Based on the story by Bernard Malamud
Directed by Ján Kadár
with Zero Mostel, Harry Belafonte, Gloria Foster

An adaptation of the whimsical Bernard Malamud story about an elderly Jewish tailor (Mostel) who suffers from a bad back, a dying wife, and financial problems. Just when things look as if they can’t get any worse, a black Jewish man (Belafonte playing the bad boy of heaven) shows up in his kitchen claiming to be an angel from God sent to help.

GANJA AND HESS (1973)

Much has been written about the damage inflicted upon GANJA AND HESS (1973), the fascinating, barely released vampire film that reunited the late writer-director Bill Gunn and actress Marlene Clark three years after Warner Brothers shelved their first collaboration, the x-rated erotic thriller STOP. “I loved working with Bill because he was so imaginative, creative and totally committed to the material,” Clark says. “GANJA AND HESS was his dream, his vision, and there wasn’t a thing he wouldn’t do to make it work. And in the process, he brought people together. Film crews had been traditionally all-white, yet here was a crew that was totally mixed -- and their devotion to Bill, and to what he was trying to say, was really quite impressive.”


Also impressive were the challenging roles Gunn wrote for Clark and her co-star, the late Duane Jones (from NIGHT OF THE LIVING DEAD). "You couldn’t wish for a better character,” the actress says of Ganja Meda, the mysterious woman who shares the curse of immortality and the thirst for human blood with Jones’ Dr. Hess Green. “There are so many levels to her personality. She’s such a collection of contradictions. Playing that part was very rewarding. And Duane was a treat to work with. He did a terrific job.”


GANJA AND HESS was the only American film screened during Critic’s Week at the 1973 Cannes Film Festival, where it was named one of the 10 Best American Film of the Decade. It opened at Manhattan’s Playboy Theater a few weeks later. “The first time I saw the movie was at the opening-night screening in New York,” Clark reveals. “There was a splashy party afterward -- and being the lead actress, I was pretty much the star of the party! Nothing like that had ever happened to me before. It was wonderful.” The bubble burst the next day, however, when almost every New York critic panned the film. “When I read the reviews, I thought, ‘They didn’t get it,’” Clark remembers. “Many critics believe that black people make very straightforward, literal movies -- so Bill was really an enigma to them. They just did not understand what he had done.”


Gunn’s unique cinematic treatment of African-American spirituality and vampirism was also lost on the film’s distributor, Kelly-Jordan Enterprises. After a one-week run in Manhattan, the original 110-minute version was pulled from circulation and replaced by a 76-minute bastardization called BLOOD COUPLE, with new credits listing “E.H. Novikov” (a pseudonym for film doctor Fima Noveck) as director. For nearly 25 years, it was this version that viewers were subjected to, both in theaters and on video, under such misleading titles as DOUBLE POSSESSION, BLACK EVIL, BLACK VAMPIRE, and BLACKOUT: THE MOMENT OF TERROR.


For their “Complete Edition” of GANJA & HESS, All Day Entertainment expands and improves upon their original DVD, which itself was a high watermark when released in 1998. Gunn’s one-of-a-kind film couldn’t get a drop of respect back in 1973, but for its 25th anniversary a decade ago All Day beautifully restored the cerebral bone-chiller to its full 110-minute glory. Well...almost. An MIA two-and-a-half minute scene found in Gunn’s own print but absent from all other sources has thankfully been reinstated. The extras from the first disc are present, including the extensive poster/still gallery and the informative audio commentary with Clark, producer Chiz Schultz, and director of photography James Hinton. Also returning, this time as a DVD-ROM feature, is the terrific essay by Tim Lucas and David Walker that explains the history of the film and the differences between Gunn’s cut and the 76-minute version by film doctor Fima Noveck. A new 30-minute featurette, “The Blood of the Thing,” consists of a recent interview with Schultz and film editor Victor Kanefsky peppered with Q&A footage of them (along with Hinton and assistant producer Janice Adams) at a New York screening. In “Ganja & Hess Reduced,” All Day’s David Kalat provides an 18-minute audio commentary for some of his favorite scenes. Gunn’s shooting script and a print interview with Noveck (conducted by Walker) round out the DVD-ROM extras on this excellent package.

Above: Bill Gunn

Below: His angry letter to the Times (May 13, 1973. p. 7 + 30)