Diary of a Claritin-befuddled blogger

Today will be light, as your host is sick and doped up on Claritin.

I have, however, been thinking about the chitlin circuit. (What do you do when you’re trying to sleep?) The chitlin circuit, for those who don’t know, consists of traveling plays—usually, but not always, melodramas—that are written, directed, and produced by black folks. The plays themselves almost always feature broad humor, easy stereotypes, swooping life lessons (generally a “Get right with God” sort of theme), and songs. At its best, chitlin circuit theater—be it stand-up comedy, drama, or musicals—combines the crowd-pleasing theatrics of opera with the atmosphere of a downhome church revival. It’s contemporary vaudeville, enormously popular with black theatergoers and almost entirely unknown to the white mainstream.

Roger Ebert caused a stir two weeks ago with his panning of Diary of a Mad Black Woman, a film that is an adaptation of a popular chitlin’ circuit play by Tyler Perry. The pan doesn’t seem to matter—as of today, the Internet Movie Database notes that the movie has grossed $50 million.

This is not unusual. Critics usually pan chitlin circuit-based films, if they’re even aware of them in the first place, and the movies end up making a killing, anyway. Last year’s Woman, Thou Art Loosed opened to dismal reviews but made nearly $7 million—not bad for a movie that cost half of that amount to produce and market. The one exception that I can think of is Spike Lee’s The Original Kings of Comedy. It also flew under the radar—it cost $3 million and made $38 million; probably the biggest financial success of Lee’s career—but was well-received by critics.

Anyway, Ebert’s negative review prompted more letters than his reviews of the far more controversial and noticed The Passion of the Christ and Fahrenheit 9/11. The deluge was such that he felt the need to respond. What’s going on here? PopMatters’s Mark Reynolds breaks it down, giving the sanest, smartest response I’ve seen. Please read it.

About Walter Biggins

Walter Biggins is a writer based in Atlanta, GA. He is the co-author (with Daniel Couch) of Bob Mould's Workbook (Bloomsbury, 2017). His work has been published in The Quarterly Conversation, RogerEbert.com, Bookslut (RIP), The Comics Journal, The Baseball Chronicle, and other periodicals. Twitter: @walter_biggins.
This entry was posted in Film. Bookmark the permalink.

2 Responses to Diary of a Claritin-befuddled blogger

  1. Outer Life says:

    Claritin-befuddled? This would explain a lot, for I’m under the influence of Claritin at least 8 months each year.

  2. Ernesto says:

    The Victory Grill in Austin, TX boasts that it was a popular stop for musicians along the “chitlin circuit.” It seems that some people expand the definition of the circuit beyond theater to anywhere African-Americans were allowed to perform during segregation.
    Which makes sense to me. Theater or music, these venues represented a vital link that allowed people to get from one city to the next on their tour and guaranteed a friendly, receptive audience. The Victory Grill is the only remaining vestige of this circuit in Austin. Last I checked, the city is putting some money into fixing it up and is making sure it is being preserved despite the rapid gentrification occurring on this historic corridor.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s