Hollywood, namely Columbia Pictures, was finally intrigued enough to offer Van Peebles a film - they tasked him with the identity-bending satire “Watermelon Man” (1970). Van Peebles’ prodigious, far-ranging talent soon invited reminders of Orson Welles. Then you learn that he composed the score too and you’re astounded beyond belief. He learned French, shot another short film, “Les cinq cent balles” (1963), began writing novels, and adapted one of his books into his first feature: “The Story of a Three-Day Pass.” The success of “The Story of a Three-Day Pass,” which he both wrote and directed, was impressive enough. Van Peebles soon moved to France with the desire to make a career in a less hostile environment. Though both displayed his already considerable talent, a prejudiced Hollywood did not pay him or his work any interest. Soon he filmed his first shorts “Three Pickup Men for Herrick” (1957) and “Sunlight” (1957). There, he wrote his first book entitled “The Big Heart,” which inspired his ambition to get into moviemaking. in Literature from Ohio Wesleyan University and served in the Air Force for three and a half years before moving to San Francisco to become a cable car operator. On what would have been his 90th birthday, Variety ranks 10 films Van Peebles either directed, wrote or starred in.īorn in Chicago, Van Peebles earned a B.A. He almost single-handedly paved the way for Blaxploitation and carved a space for African American directors on Broadway. He recorded seven studio albums and four soundtracks, wrote 13 books and one graphic novel, fashioned nine plays, directed eight feature films, four shorts and a music video. He left behind a legacy as a fiercely independent multi-hyphenate creator who altered the course of Black filmmaking and cinema at-large.ĭuring his influential life, Van Peebles tackled and excelled in every possible storytelling medium. Less than a year ago, the legendary Melvin Van Peebles died.
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