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TIME: Almanac 1990s
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<text id=90TT0773>
<title>
Mar. 26, 1990: Doing The Bright Thing
</title>
<history>
TIME--The Weekly Newsmagazine--1990
Mar. 26, 1990 The Germans
</history>
<article>
<source>Time Magazine</source>
<hdr>
CINEMA, Page 71
Doing the Bright Thing
</hdr>
<body>
<p>The Hudlin brothers have a homeboy hit with House Party
</p>
<p> Kid is an Andy Hardy for the '90s: a scheming innocent, ever
wavering between girlfriends, ever scampering away from trouble
and smack into worse. With his impish, Darryl Strawberry-size
grin and an 8-in.-high flattop haircut that looks like a
pillbox hat out of Zsa Zsa's closet, Kid (Christopher Reid)
swipes audience sympathy from the get-go. Now he sits in the
principal's office after a cafeteria fight with evil dude Stab
(Paul Anthony). Seems Stab has branded Kid's dead mother a
whore. The white principal is befuddled. "Why in God's name,"
she asks the perp, "did you call his mother a garden tool?"
Ho', that is. Ho-ho-ho.
</p>
<p> The elements of House Party are familiar from a zillion
youth movies: the boy who sneaks out to a teen hop, the school
punks who spit out threats, the nice girl our hero flirts with
and the even nicer one he winds up with. Lots of wit in the
pop-tune lyrics; too much raw-mouthed slurring of women and
homosexuals in the dialogue. The difference here is that the
filmmakers and the lead actors (including rap artists Kid 'N
Play and Full Force) are all middle-class blacks. The script
virtually carries warning labels for unwary teens. Drinking is
bad; sex without a condom is irresponsible. Rude and righteous,
House Party is John Hughes divided by Spike Lee. "I wanted to
make a movie that I had not seen," says writer-director
Reginald Hudlin, 28, "but a movie that I wanted to see."
</p>
<p> Made for just $2.5 million, House Party has won positive
reviews and healthy box office, earning more money per screen
than the megahit The Hunt for Red October. Most important to
Hudlin and his older brother Warrington, who produced it, House
Party appeals to the people it is about. "There's a theater two
blocks from our house in Harlem," Reginald says, "and kids come
out narrating the plot to their friends and get back in line.
It's nice to provide an experience that you wanted when you
were that age."
</p>
<p> The Hudlin bros hail from East St. Louis, Ill., where they
were nurtured, says Reginald, "in a matrix of black folk
culture. Brother Joe May, a famous gospel singer, lived two
doors down on one side, and Ike and Tina Turner lived two doors
down the other side. It was sort of heaven and hell,
equidistant." The Hudlins emigrated to two matrices of official
culture--Warrington went to Yale, Reginald to Harvard--but
as filmmakers they wanted to return home. "When we went to
parties, this funny stuff would happen," Reginald says. "I
promised my friends that one day I would put it all in a film.
So I made a 20-minute version of House Party as my senior
thesis."
</p>
<p> The filmmakers pepper House Party with a wide range of
cultural references, from Public Enemy (the rap group) to
Public Enemy (the Cagney classic). But most of their humor is
homeboy, or what Reginald calls "Afro-Americana. Little bits
of junk culture that tie the black community together." That's
what the Hudlins hope to do now that, as Warrington puts it,
"every studio in Hollywood has said they'd finance our next
movie." As a kid, Warrington thought "movies were like magic
that was performed in Hollywood." Now he and his brother have
learned that if you believe in magic, you can start making it.
</p>
<p>By Richard Corliss. Reported by Kathryn Jackson Fallon/New York.
</p>
</body>
</article>
</text>