Off-Centerpiece - Maybe He Should Have Impersonated a White Studio Boss
By STEVE WEINSTEIN
Los Angeles Times
Original Link
July 14, 1991
When
Steven Soderbergh's "sex, lies, and videotape" won the top prize at the
Sundance Film Festival in 1989, the resulting buzz swiftly transformed
the low-budget film into a hit and the rookie director into a hot
Hollywood commodity. When "Chameleon Street" was honored with the same
prize the following year, Wendell Harris, the film's black
star-writer-director, thought that he too was headed for the big time.
But 18 months later, Harris' film is only now about to open in Los
Angeles, and at that, it's getting just a one-week stint beginning
Friday at the Nuart. While many of the films Harris beat at
Sundance--"Metropolitan," "To Sleep With Anger," "House Party" and
"Longtime Companion"--already have enjoyed wide release, "Chameleon
Street" has languished unseen, leaking out the past few months in a
one-city-at-a-time tour of metropolitan art houses.
Based on
the true story of a Michigan man named Doug Street, the film depicts
the amoral, chilling and often hilarious behavior of a black man who
poses as various accomplished individuals in order to advance in white
society. At one point, despite no medical training, Street impersonates
a surgeon and performs dozens of operations, including a hysterectomy
filmed and acted out by Harris in hide-your-eyes, medical documentary
style. Made for about $2 million, the droll, weird and very black
comedy ends ambiguously, leaving it unclear whether the audience should
sympathize with or condemn the compulsive imposter.
"Many
distributors told us that they could not find an easy hook to sell the
film with," Harris said. "One major distributor said, 'This is great,
but it's not like an Eddie Murphy film and it's not like Spike Lee.'
They didn't know what to do with it."
So despite enthusiastic
film festival audiences and reviews around the world, "Chameleon
Street" has been the odd man out. While such neophytes as 19-year-old
Matty Rich ("Straight Out of Brooklyn") and 23-year-old John Singleton
("Boyz N the Hood") have hatched Hollywood futures with laudable
debuts, Harris, now 37, has been left a bit behind the curve.
Harris applauds the "so-called black film renaissance," insisting that
the audience is "starved for this product" and that every new film from
Rich, Singleton, Lee or any other black writer-director expands the
possibilities for everyone.
Still, the bulk of these films have been visceral, unflinching
re-creations of life in the ghetto. Harris is a former Juilliard
classmate of Robin Williams and a man more versed in existentialism and
the films of Jean Cocteau than the inner-city realities of gangs and
crack. In trying to sell it, he said, he actually heard comments like,
"Where is the drug dealer, where is the black-on-black crime?" He
chuckles at the irony in the fact that his film about a black man who
goes to amazing extremes to be what white society wants him to be has
had difficulty finding a home in an industry that seems willing to
embrace only one specific black reality.
"White people have not let us breathe, and still they are the ones
doling out the oxygen," Harris said. " 'Chameleon Street' is unique
enough to be without precedent and Hollywood has always been suspicious
of anything new. Everyone knows the existence of and can rally around
the black ghetto. But just as there are a rainbow variety of black
complexions in the world, there should be that same diversity in film.
The life of Doug Street is every bit a part of the black experience as
'Do the Right Thing' or 'Boyz N the Hood.' "
Harris, who lives
in Flint, Mich., where the film was made, nonetheless is optimistic
about today's climate in Hollywood. And it is in Hollywood, where
Harris came 15 years before with unfulfilled dreams of writing for
"Mary Hartman, Mary Hartman," that he intends to thrive. Two-time
Oscar-winner Milos Forman has met with Harris about directing Harris'
script about the life of boxer Joe Louis, and Harris said that he is
also in various stages of negotiations with several movies, including a
black Western, a dark comedy about the ordeals of four
Juilliard-trained actors and a drama set in Trinidad.
"It's a
hopeful time because there seems to be an awareness in Hollywood now
that was not there in 1976 when people couldn't even spell black
correctly," Harris said. "Now there is an openness and a willingness to
deal with us. And we're in such a primitive state with our black
cinematic expression that every film that comes out is making history."
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