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Trick Baby
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| Trick Baby | |
|---|---|
 | |
| Directed by | Larry Yust |
| Written by | Novel: Iceberg Slim Screenplay: A. Neuberg T. Raewyn Larry Yust |
| Produced by | Marshal Backlar James Levitt |
| Starring | Kiel Martin Mel Stewart |
Production company | Cinema Entertainment |
| Distributed by | Universal Pictures |
Release date |
|
Running time | 89 minutes |
| Country | United States |
| Language | English |
Trick Baby is a 1972 Blaxploitation film directed by Larry Yust and starring Kiel Martin and Mel Stewart. This crime-drama is based and named after a novel by Iceberg Slim written in 1967. The film was produced by Marshal Backlar and James Levitt. The film first premiered at the DeMille Theater, Seventh Avenue and 47th Street theatre, Juliet 2 Theater, and Third Avenue and 83 Street theatre in New York. This film is distributed by Universal Studios.
Plot
[edit]"Blue" Howard (Mel Stewart) and "White Folks" (Kiel Martin) are two con men in Philadelphia. Blue is an older black hustler who raised "White Folks” and taught him "the con". White Folks is the son of a black mother who is a prostitute and a white father. White Folks has a complexion light enough for him to pass as a white man which gives him an advantage in the con. The duo exploit the dynamics between whites and blacks to achieve their cons. Blue usually plays a vulnerable black man being exploited by White Folks which allows Folks to gain the credibility needed to pull off the con.
Cast
[edit]- Kiel Martin as "White Folks"
- Mel Stewart as "Blue" Howard
- Vernee Watson-Johnson as Cleo Howard
- Beverly Ballard as Susan
- Clebert Ford as Josephus
- David Thomas as Frascatti
- Jim King as "Duke"
- Ted Lange as Melvin, The Pimp
- Jan Leighton as Carlson
- Dallas Edwards Hayes as Dot Murray
- Tony Mazzadra as Nino Parelli
- Don Symington as Morrison
- Don Fellows as Phillips
- Tom Anderson as Felix "The Fixer"
- Charles Weldon as Tough
Background and production
[edit]Trick Baby is adapted from a book by Iceberg Slim. Slim, born Robert Lee Maupin, was a pimp in his early life before becoming a popular author for African American audiences. His novels reflect his personal experiences and provides an insider look into the world of black pimps. Trick Baby, his second novel published by Holloway House in 1967, was not a direct look into the life of pimps but was still heavily influenced by pimping (remember a trick baby is the product of pimping). Slim became one of the best-selling authors of his time selling over six million books.
This is the first one of Slim's novels to be turned into a film. The script was adapted from the book by A. Neuberg, T. Raewyn, and Larry Yust. The film was also directed by Yust. The movie was produced with a $600,000 budget and was produced independently. Universal Pictures bought the film for 1,000,000 dollars and the movie grossed $11,000,000 at the US box office. The cast was not well known before the movie's release.
An adaptation of Pimp, his first novel, has been in the works for some time, since the early 1990s, but have never come to fruition. Another one of his novels, Mama Black Widow, is in development with the screenplay being adapted by Marshall Tyler who is also set to direct the piece.[citation needed]
Reception
[edit]Critic Rossi Jackson of the New Pittsburgh Courier calls this adaption a "bastardized version of Iceberg Slim's novel…they have watered down, misadapted and ultimately messed up Iceberg Slim's original work".[1] While Jackson claims that the film is well acted, he believes that the film lacks the ferociousness and passion with which Slim writes about the "places and the pains of the black ghetto experience".[1] The black ghetto life is largely absent from the movie and many of the exciting characters, such as Cleo, are lost.
Jackson praises the performance of Dallas Edward Hayes (the corrupt cop) and Mel Stewart (Blue Howard), but states that Kiel Martin's performance falls short. Left to our own imaginations in the book, Folks' black identity is not questioned. However, in the movie, Martin plays the white man well, but lacks the soul needed to play a black man. Jackson states "since the credibility of the whole film rests on the actor's performance in the title role, this film falls flat on its face. Even if the leading actor were really black, one would still question his ability as an actor to credibly project black masculinity on the screen".[1]
In a 1973 review in the New York Times, Roger Greenspun wrote "Trick Baby seems most interesting in its understanding of race relations…relations between Folks and Blue are absolutely normal, not very competitive, resilient, and rich in a kind of mutual professional appreciation."[2]
See also
[edit]References
[edit]- ^ a b c Rossi, Jackson. New Pittsburgh Courier (1966-1981), City Edition [Pittsburgh, Pa] 03 Mar 1973: 17
- ^ "Movie Review - - The Screen: 'Trick Baby':The Cast - NYTimes.com". www.nytimes.com. Retrieved 2016-05-06.
External links
[edit]- Trick Baby at IMDb
Trick Baby
View on Grokipediafrom Grokipedia
Source Material
Novel Overview
Trick Baby is a novel written by Iceberg Slim, the pseudonym of Robert Beck, and first published in 1967 by Holloway House Publishing Company.[7] The book spans 312 pages in its original edition and draws from Slim's experiences in the criminal underworld, presenting a semi-autobiographical narrative through fictional elements centered on street hustling and racial dynamics in mid-20th-century America.[7] Set primarily in the 1930s and 1940s on Chicago's South Side, it explores the gritty realities of con artistry, pimping, and survival among the black underclass.[8] The protagonist, known as "White Folks" or Johnny O'Brien, is a biracial man born to a black dancer and a white Irish musician, whose light skin, blue eyes, and fair hair enable him to pass as white in both black and white social circles.[1] From childhood trauma and orphanage life, he evolves into a skilled conman, navigating deceptions that exploit racial ambiguities, including scams targeting marks across racial lines and involvement in prostitution rings.[9] The narrative traces his apprenticeship under mentors like the pimp Blue and his execution of intricate hustles, such as the "Trick Baby" con, which leverages his ambiguous identity to manipulate perceptions of race and trust.[10] Slim's prose employs raw, vernacular dialogue and vivid depictions of urban vice, emphasizing themes of racial passing, identity fluidity, and the predatory logic of street crime as a response to systemic marginalization.[11] While entertaining through its humor and high-stakes cons, the novel underscores the psychological toll of perpetual deception and the inescapability of one's origins in a racially stratified society, without romanticizing the hustler lifestyle.[12] Critics have noted its unflinching portrayal of black criminal subcultures, contrasting with more sanitized literary treatments of the era.[13]Iceberg Slim's Background and Influence
Robert Beck, who wrote under the pseudonym Iceberg Slim, was born Robert Lee Maupin on August 4, 1918, in Chicago, Illinois, to a teenage mother, Memie, who had migrated from Tennessee seeking better opportunities.[14] Raised primarily by his mother in a milieu of urban poverty and racial segregation, Beck experienced early exposure to street hustling; his mother worked as a domestic but supplemented income through petty crime, including theft and bootlegging, which normalized criminal enterprise in his formative years.[15] By age 18, following brief attendance at Tuskegee Institute where he studied for less than a year, Beck entered the world of pimping, a profession he pursued across cities like Chicago, Milwaukee, and Detroit for approximately 25 years, managing up to a dozen prostitutes at peak and accumulating significant earnings estimated in the tens of thousands of dollars annually during the 1940s and 1950s.[15] [14] Beck's criminal career included multiple imprisonments, totaling over 10 years in facilities such as the Illinois State Penitentiary at Joliet and Stateville, where convictions for pandering, assault, and narcotics violations punctuated his life; a severe bout with venereal disease in 1960, coupled with advancing age and personal disillusionment, prompted his exit from pimping around age 42.[14] Relocating to Los Angeles, Beck supported himself through menial jobs while teaching himself writing through correspondence courses and voracious reading of authors like Guy de Maupassant and Honoré de Balzac, whose influence on his stylistic precision is evident in his raw, vernacular prose.[14] His debut memoir, Pimp: The Story of My Life (1967), drew directly from these experiences, selling over 1.5 million copies by the 1970s primarily through word-of-mouth in Black communities and holloway House's targeted marketing to urban readers.[16] Trick Baby (1969), his second novel, similarly reflected this background, centering on a light-skinned con artist navigating Chicago's underworld of grifts and racial passing, informed by Beck's firsthand knowledge of hustler psychology, racial dynamics in mid-century Black America, and the exploitative mechanics of street crime he observed and practiced.[1] Slim's influence extended beyond his semi-autobiographical narratives, pioneering "street literature" or urban fiction as a genre that authentically depicted Black criminal subcultures without romanticization or moral sanitization, contrasting with contemporaneous portrayals in mainstream media often filtered through white perspectives.[14] His works inspired subsequent writers like Donald Goines, whose novels echoed Slim's gritty realism, and shaped blaxploitation cinema's archetypal figures, with Trick Baby's adaptation in 1972 exemplifying how his material translated to visual media emphasizing cunning antiheroes over heroic tropes.[17] Culturally, Slim's lexicon and ethos permeated hip-hop, with artists such as Ice-T and Jay-Z citing his books—Pimp in particular—as formative, embedding pimp mythology into rap lyrics and aesthetics from the 1980s onward, though this adoption sometimes amplified a glorification Beck himself critiqued in later reflections.[16] By his death on April 30, 1992, from renal failure in Los Angeles, Slim's oeuvre had sold millions, establishing a template for confessional crime writing that privileged experiential authenticity over literary polish, influencing an underground canon that prioritized causal depictions of socioeconomic desperation driving urban vice.[14]Film Overview
Plot Summary
The film depicts the exploits of two Philadelphia-based con artists: Blue Howard (Mel Stewart), a seasoned Black hustler, and his protégé Johnny "White Folks" O'Brien (Kiel Martin), a biracial man with light skin who passes as white and earns the street moniker "trick baby" due to his origins as the child of a Black sex worker and a white client.[6][18] The duo specializes in scams exploiting racial dynamics, such as peddling fake diamonds to affluent white marks who underestimate O'Brien's true heritage.[6][19] Their partnership faces peril after a successful $10,000 swindle triggers the victim's fatal heart attack upon realizing the deception, revealing him as the uncle of a vengeful Mafia kingpin who dispatches hitmen in pursuit.[20] Simultaneously hounded by law enforcement eager to incarcerate them, Howard and O'Brien plot an ambitious final grift aimed at funding their disappearance and retirement from the criminal life.[21][22]Cast and Crew
The film was directed by Larry Yust in his feature directorial debut, following a career in documentary and short films.[5] Yust also co-wrote the screenplay alongside A. Neuberg and T. Raewyn, adapting the 1969 novel by Robert Beck (pen name Iceberg Slim).[21] Producer Marshall Backlar oversaw the production for Universal Pictures, with cinematography by Isidore Mankofsky, editing by Peter Parasheles, and original music composed by James Bond.[23] Kiel Martin starred as Johnny "White Folks" O'Brien, a light-skinned con artist of mixed race who passes for white, central to the film's exploration of racial deception and hustling.[5] Mel Stewart portrayed Blue Howard, an experienced Black pimp and con man who mentors and partners with the protagonist in Philadelphia's underworld schemes.[5] Supporting roles included Dallas Edward Hayes as Dot Murray, a key figure in the cons; Beverly Ballard as Susan; and Vernee Watson-Johnson as Cleo Howard, Blue's wife.[24] Additional cast members featured Clebert Ford as Josephus Ford and various ensemble players depicting gangsters, prostitutes, and victims in the story's criminal milieu.[25]| Key Cast | Role |
|---|---|
| Kiel Martin | White Folks (Johnny O'Brien)[5] |
| Mel Stewart | Blue Howard[5] |
| Dallas Edward Hayes | Dot Murray[5] |
| Beverly Ballard | Susan[5] |
| Vernee Watson-Johnson | Cleo Howard[5] |
Production
Development and Adaptation
The film adaptation of Trick Baby originated from Universal Pictures' acquisition of the rights to Iceberg Slim's novel of the same name, published in 1969 by Holloway House, for $25,000 in the early 1970s, amid the commercial success of Slim's preceding memoir Pimp (1969), which had elevated his profile as a chronicler of street life.[14][9] This deal positioned Trick Baby as the first Holloway House title to reach the screen, reflecting the era's interest in adapting pulp fiction depicting urban hustling and racial dynamics for blaxploitation cinema. Screenplay development involved collaboration among A. Neuberg, T. Raewyn, and Larry Yust, who adapted Slim's narrative of con artistry and interracial mentorship while serving as the film's director; Yust, previously known for documentary work, used this project as his narrative feature debut.[22][26] The adaptation retained core elements of the novel's plot—centering on a light-skinned con man passing as white—but streamlined Slim's raw, autobiographical-inflected prose into a commercially viable thriller format suitable for Universal's distribution slate.[27] Production proceeded under Universal's oversight, with the film entering principal photography in 1972, aligning with the studio's push into genre films exploiting contemporary interest in gritty, race-infused crime stories; no major reported conflicts arose between Slim and the filmmakers, though the adaptation shifted emphasis toward suspenseful action over the novel's deeper ethnographic details of pimping and deception.[5][28]Filming and Technical Aspects
Filming for Trick Baby occurred primarily in Philadelphia, Pennsylvania, to reflect the story's setting among urban con artists and gangsters in that city, lending authenticity to the gritty street-level narrative. Specific locations included 52nd Street, where exterior scenes captured the raw essence of Philadelphia's neighborhoods.[22][29] The production utilized Arriflex cameras and lenses for principal photography, employing the Technicolor process to achieve vibrant color grading suitable for the film's dramatic tone. It was presented in a 1.85:1 aspect ratio, standard for theatrical releases of the era, with monaural sound recorded via the Westrex Recording System.[30] The runtime totals 93 minutes, reflecting a concise structure typical of low-budget Universal Pictures efforts.[30]Release
Distribution and Box Office
Trick Baby was distributed by Universal Pictures in a limited theatrical release on December 22, 1972.[31] The film, categorized within the blaxploitation genre, targeted urban audiences amid a wave of similar low-budget crime dramas, though it lacked major stars to drive wide distribution.[32] Produced on a reported budget of $600,000, the movie earned $622,000 at the United States box office.[33] This figure reflects rentals or domestic theatrical gross as tracked in period industry data, suggesting a marginal profit after accounting for distribution costs, though comprehensive worldwide earnings remain undocumented in available records. Claims of substantially higher returns, such as $11 million, appear unsubstantiated and likely erroneous, stemming from unverified secondary sources rather than primary box office ledgers.[33]Reception and Analysis
Critical Reviews
Trick Baby garnered mixed critical reception upon its 1973 release, with reviewers acknowledging strengths in performances and thematic depth alongside flaws in adaptation and execution. Roger Greenspun, writing for The New York Times on January 27, 1973, observed that "there are enough things wrong with 'Trick Baby' to fill a bad review," citing incomplete characterizations and narrative inconsistencies, yet concluded the film "deserves a good one" for its engaging con artistry and nuanced portrayal of interracial dynamics "neither sentimentalized nor stereotyped."[34] Critics praised the lead performances, particularly Mel Stewart as the veteran con man Blue Howard, whose relish for the hustle added authenticity to the film's streetwise milieu. Greenspun highlighted the film's effective use of Philadelphia locations to convey a raw urban immediacy, distinguishing it from more polished thrillers. However, some assessments noted the adaptation's dilution of Iceberg Slim's source novel, with one later critique arguing the filmmakers "watered down, misadapted and ultimately messed up" the original's gritty essence.[35] Overall, the film's limited mainstream coverage reflected its modest budget and niche appeal within the blaxploitation genre, though select reviews appreciated its avoidance of exploitative excess in favor of character-driven cons and racial ambiguity central to the protagonist's "trick baby" identity. Academic analyses have since echoed this mixed legacy, confirming an "underwhelming reception" among period critics due to tonal unevenness and failure to fully capture the novel's pulp intensity.[36]Commercial and Audience Response
Trick Baby experienced limited commercial success upon its December 1972 theatrical release by Universal Pictures, with no reported box office earnings in major industry compilations of the year's top-grossing films, suggesting modest performance relative to contemporaries.[37][32] The film's distribution aligned with Universal's acquisition of adaptation rights from Iceberg Slim's novel, but it failed to generate widespread theatrical revenue, likely due to its niche appeal within the blaxploitation genre amid competition from higher-profile releases.[14] Audience response has been positive, particularly among fans of crime dramas and blaxploitation cinema, evidenced by a 6.7/10 rating on IMDb from 714 user votes as of recent data.[5] Viewers have praised the performances of Kiel Martin as the light-skinned con artist "White Folks" and Mel Stewart as his partner Blue Howard, noting the film's tight pacing, authentic Philadelphia setting, and engaging con schemes without excessive exploitation elements.[20] Contemporary reviews described it as enjoyable and well-acted, appealing to urban audiences seeking gritty, street-level narratives over mainstream blockbusters.[38] Over time, it has cultivated a cult following, with enthusiasts highlighting its overlooked status and fidelity to Slim's source material.[39]Racial and Thematic Interpretations
The film's protagonist, a light-complexioned African American man dubbed "White Folks," embodies racial passing as a mechanism for exploiting white societal privileges while maintaining loyalty to black criminal networks in Philadelphia. This depiction marks a rare cinematic instance of a male passer post-Civil Rights era, diverging from predominant female tragic mulatto tropes by framing ambiguity as an asset for grifting and subversion rather than personal torment.[40] Scholars interpret this as reflecting 1970s shifts in biracial representations, where mixed-race characters in predominantly black settings leverage appearance for access across racial boundaries, signaling declining emphasis on assimilation amid rising Black Power influences.[40][41] Thematically, racial identity emerges as fluid and performative, with the protagonist's "blackness" affirmed through ghetto affiliations and defiance of white norms, despite his phenotypical whiteness. This aligns with street literature motifs of the "street nigger" hero, who proves authenticity via criminal resilience against economic marginalization, challenging mainstream assimilation in favor of underworld autonomy.[42] Deception and hustling serve as causal responses to systemic racial exclusion, portraying cons as rational adaptations to urban poverty and opportunity scarcity, rather than mere vice.[22] Interpretations extend to memory and migration, reimagining passing as tied to collective African American historical narratives of displacement and identity reconstruction.[41] Broader analyses view the work as social commentary on racial dynamics within black communities, including how upbringing and exclusion foster alternative survival strategies, though the film's blaxploitation styling—directed by a white filmmaker—prioritizes entertainment over didacticism.[43] Racial exploitation by whites and intra-community tensions underscore themes of resistance, with the narrative critiquing capitalism's role in perpetuating ghetto violence as a byproduct of unequal resource distribution.[42]Legacy
Cultural Impact
The film Trick Baby occupies a niche but enduring place in blaxploitation cinema, valued by enthusiasts for its unconventional depiction of racial ambiguity and interracial con schemes that subvert racial stereotypes for profit. Released amid the genre's 1970s peak, it exemplifies how blaxploitation films leveraged black protagonists in criminal narratives to challenge Hollywood's marginalization of African American stories, though critics have noted the genre's frequent reinforcement of exploitative tropes.[38][44] As the sole cinematic adaptation of Robert "Iceberg Slim" Beck's novels, Trick Baby amplified the author's influence on urban street culture, particularly in hip-hop, where Slim's raw portrayals of pimping, hustling, and racial deception shaped lyrical motifs of survival and manipulation. Beck's works, including the source novel published in 1967, permeated rap's lexicon, with artists citing Slim's narratives as foundational to "pimp-hop" aesthetics and authenticity claims in tracks by figures like Ice-T, who referenced Trick Baby in discussions of formative influences.[14][45][46] The film's dialogue and scenes have echoed in modern media, such as the sampling of its "Dinner Scene" in JPEGMAFIA's 2018 track "#Newblack PSA," illustrating sporadic but targeted nods to its gritty authenticity within experimental hip-hop production. This reflects broader ripple effects from Slim's oeuvre, which sold millions and informed 1970s black street fiction and blaxploitation visuals, though the movie itself achieved limited mainstream penetration compared to genre staples like Shaft.[47][48]Adaptations and Availability
The 1969 novel Trick Baby by Robert Beck (pen name Iceberg Slim) was adapted into a single feature film in 1972, directed by Larry Yust and starring Kiel Martin as the protagonist "White Folks" and Mel Stewart as Blue Howard, marking the only cinematic adaptation of Slim's work to date.[49] No remakes, sequels, television series, or other media versions of the story have been produced, despite interest in Slim's pimp memoir Pimp influencing later cultural works.[50] The film received limited home video distribution initially, with a DVD release in 2004 featuring English, French, and Spanish audio tracks.[51] In August 2020, Scorpion Releasing issued a Blu-ray edition with a dual-layer disc, high-definition transfer, and special features including audio commentary by Yust and cinematographer Isidore Mankofsky, trailers, and a photo gallery.[52] As of October 2025, Trick Baby is not available for legal streaming on major platforms such as Netflix, Amazon Prime Video, or Hulu.[53] Physical copies remain accessible via retailers like Amazon and secondary markets, while unauthorized full versions appear on platforms like YouTube.[54][55]References
- https://www.[goodreads](/page/Goodreads).com/book/show/355742.Trick_Baby