MELINDA (1972)

Title: MELINDA

Year of Release: 1972

Director: Hugh A. Robertson

Genre: Crime, Blaxploitation, Action

Synopsis: A disc jockey falls for a mysterious young woman, and is accused of her murder, but fights to clear his name.

Within a film history context: The early to mid-1970s saw a great number of films, coined as Blaxploitation movies, with African American protagonists in central roles, often supported by Caucasian actors in smaller parts. These films continue to be made to the present day. Up until the release of MELINDA in 1972, there were many notable films which explored the Blaxploitation theme in vastly different ways. One of the first with an African American actor in the lead role was Robert Downey Sr.'s PUTNEY SWOPE (1969). Arnold Johnson was the main character, the eponymous Putney Swope, being an advertising executive, in a sharply satirical film that was shot in stark black and white. COTTON COMES TO HARLEM (1970), directed by Ossie Davis, was another influential film. With its colorful characters and presentation, a sequel was produced in 1972, COME BACK CHARLESTON BLUE that was not as warmly received as the original. COTTON COMES TO HARLEM's humor, and spurts of violence, became a feature of other films in the Blaxploitation genre. 

Paul Bogart's HALLS OF ANGER (1970) was utterly different in style and tone from other movies in the genre. Centering around the arrival of white students in a predominately black school, igniting racial tensions, with the return of a black teacher there. It was a thoughtful film that offered no easy answers to race relations, but opened the door to further discourse about these. More exploitative was SOUL SOLDIER (1970), directed by John Cardos. Set during the Civil War, it was the story of a black man in a regiment managed by a white man, and whose cast included actors such as Barbara Hale and Cesar Romero. Topical in nature was Ralph Nelson's TICK, TICK, TICK (1970). With Jim Brown as the black sheriff of a small town simmering with racial tensions, it was a film that traded less in violence than others in the genre, and with more of a solid storyline than most. A comical take on race relations was on view in WATERMELON MAN (1970), directed by Melvin Van Peebles. With a mainly black cast, it was a fish out of water story with a white insurance man finding himself to be black after waking up one morning. It is remembered mainly for its comic atmosphere, witty asides, and the strength of the performances. 1971 brought more films that explored the Blaxploitation angle in various ways.

One of the rarest of these was Wendell Franklin's THE BUS IS COMING (1971). A young black Vietnam veteran returns home and discovers his brother was murdered by racist police officers, with revenge on the soldier's mind. A subdued, serious examination of racism in a small town, it was a well-made, convincing story that eschewed violence and sex, and made up for this in sheer story. Unlike other movies, HONKY (1971), directed by William A. Graham, had romance on its mind. The story of an interracial love story that involved narcotics, it was a change of pace for the Blaxploitation genre. The arrival on screen in 1971 of one of the most influential films in the genre stood out - Gordon Parks' SHAFT. The story of a black detective and the special case for which he was hired, it made a star of its lead actor Richard Roundtree, and its fashionable blend of violence, sex and salty language spawned several sequels and a television series. Another breakout film in the genre also appeared in cinemas in 1971 - SWEET SWEETBACK'S BAADASSSSS SONG, directed by Melvin Van Peebles. Notorious for its sex, nudity, language and violence, it was a film that pushed many buttons in the day, and was 'X' rated in its initial release. A groundbreaking film in 1971, it is still powerful today, time not diminishing its potency. MELINDA had features which were present in many of the blaxploitation movies, but possessed its own distinguishing marks.

The movie had a strong African American male protagonist at its core, something which also infused HALLS OF ANGER, TICK, TICK, TICK, THE BUS IS COMING, SHAFT, and SWEET SWEETBACK'S BAADASSSSS SONG. Frankie in MELINDA has that same streetwise demeanor of all the previous examples, but more in common with notions of black male sexuality from SHAFT and SWEET SWEETBACK'S BAADASSSSS SONG. Where Frankie in MELINDA diverts is that he does not have that unstoppable libido which Shaft and, especially, Sweetback possess. Frankie's sexual appetite is shown to a small degree in MELINDA, but in a more monogamous context than Shaft and Sweetback's raging sex drives. In comparison to Shaft and Sweetback, he could be described as being almost chaste in this department. 

Frankie has an affair with the mysterious Melinda, but the impact of her presence on his life is what drives him to find her killer. It is more of a mission for Frankie in MELINDA in identifying her murderer, something also present for THE BUS IS COMING's Billy, seeking who killed his brother. Frankie's one-woman man predilection is also apparent in his subsequent teaming with old girlfriend Terry to investigate the circumstances of Melinda's death. In this manner, Frankie and Terry's relationship is somewhat similar to Quincy and Lorraine's in HALLS OF ANGER, with Frankie and Terry's union tested on a grander, if sometimes more melodramatic scale, in MELINDA. A man and a woman teaming to find out the truth about something is also in THE BUS IS COMING, with Billy and Tanya's odyssey to locate his brother's killer an event which pulls them together. An interesting movie with some compelling moments, MELINDA is a sound example of a Blaxploitation film of the early 1970s.

Overview: Hugh A. Robertson was the director of three motion pictures in his career, being more active in various capacities such as sound, editing, and writing. He was notable for editing pictures such as MIDNIGHT COWBOY and SHAFT, and as sound editor on THE MIRACLE WORKER, MICKEY ONE, and A THOUSAND CLOWNS. His second film, BIM (1974), was the topical story of a Trinidadian young man involved in the independence movement in Trinidad and Tobago, coming up against many obstacles. Mr Robertson's third and final movie, OBEAH (1987), was a tale of two young people, and their entanglement in voodoo practices in the Caribbean. MELINDA was Hugh A. Robertson's film debut, and his most well-known movie.

With MELINDA, Hugh A. Robertson has made a satisfactory movie that ably maintains interest from beginning to end. There is a good execution of the story, with the many and varied events handled well by the director. The movie can be quite intricate in its storytelling, making it a film which is three-dimensional and not threadbare. One could imagine the scenario taking place in real life, giving MELINDA a realistic edge. It is a solid combination of crime, suspense, and romance elements that would appeal to various audiences, being broad in this respect which is pleasing to see. The overall presentation lends itself to a vividness which only assists the film in feeling authentic. While MELINDA has some good aspects, there are flaws which undermine the impact of the movie.

There is an interesting contrast in MELINDA between the pairing of Melinda and Frankie on the one hand, and Terry and Frankie on the other. It is implied by the narrative that the more physical union of the elusive Melinda and Frankie, which ends in her death, could not have been sustained in the long run. Terry and Frankie's pairing was evident on many levels, from loyalty, love, and sacrifice. This is something which is borne out by the story, but its delivery in one area does take matters down a notch. The air of intrigue around Melinda does permeate the film in a positive vein, but the love scene between her and Frankie is one of the movie's lowest points. Generally, love scenes in pictures are some of the most unnecessary, embarrassing segments which do not delve into character and story in a telling way, and here it is no exception. This scene does nothing to forward the story, and is risible for its attention to physical detail. It actually detracts more than it provides to the viewer, which is a drawback. This, though, points to a tendency that MELINDA has in retrospect.

There is a marked misogynistic emphasis in MELINDA which crops up from time to time in the movie. Melinda and Frankie's love scene is the first instance, with her physical attributes highlighted here. In addition, MELINDA also seems to relish showing the dead corpses of two female characters in a demeaning way. The presentation of these is tasteless, and could have been better shown by either obscuring, or not showing these sights for the viewer. This also leads to some other things which are visually imperfect in MELINDA. Some of the stunt work, specifically in its final stretches, appears artificial. Possibly slow motion may have worked better here, adding a taste of realism. Despite these faults, it can be said that MELINDA, on a basic level, is a watchable piece of Blaxpolitation cinema with some engaging moments.

Acting: MELINDA has a great cast who make the movie highly watchable. In the lead role of disc jockey Frankie, Calvin Lockhart is as lively as always as the passionate, volatile man on a mission. An actor who brought a sense of streetwise and earthiness to his parts, he is excellent, his anger palpable. As the enigmatic and lovely Melinda, Vonetta McGee is well-matched with Mr Lockhart, bringing good humor, and depth to her brief appearance. Rosalind Cash, on the other hand, is on fire as the explosive Terry, Frankie's ex-flame with whom he spends the majority of the movie. A thoroughly entrancing performer with unlimited range, able to express emotions with complete genuineness, she is one of the shining lights of MELINDA. As Tank, Frankie's erstwhile friend, Rockne Tarkington makes a duplicitous character sympathetic, with a sense of vulnerability present. The final actor of note in the movie is Paul Stevens as arch-villain Mitch, who sets the events in motion in MELINDA. A low-key, engaging thespian with a consoling speaking voice, mainly remembered for his part as lawyer Brian Bancroft in daytime serial Another World, his Mitch has many layers, making him anything but a cardboard gangster, and an intriguing figure indeed.

Soundtrack: The movie has an easy-going soundtrack, courtesy of Jerry Butler and Jerry Peters, which is in keeping with the film's casual aura.

Mise-en-scene: MELINDA has a very good handle on its visual experience for spectators. Cinematography by Bill Butler nicely captures the various Los Angeles locations in a naturalistic manner, without seeking to make these overly pretty. Sets by Sal Blydenburgh are also striking, special mention to the radio station where Frankie works, his apartment, and Mitch's house. Costume design by Norman Burza has stood the test of time, with both male, and female attire not dating as much as apparel featured in other 1970s movies, in particular, Frankie, and Mitch's wardrobes the standouts.

Award-worthy performances in my opinion: Calvin Lockhart, Vonetta McGee, Rosalind Cash, Rockne Tarkington, Paul Stevens.

Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page

Trailer