In the sixties there was a particular genre of film commonly known as the sex farce. A prime example would be most of the movies featuring Rock Hudson and Doris Day but one that most resembles the film under consideration here would be 1967’s ‘Woman Times Seven’ where Shirley MacLaine played seven different women in order to explore the drama and comedy of relationships and sex. ‘Good Day To Be Black & Sexy’ is much like that film in many ways. It is a more modern version of the theme and focused on the African American population but it stands well as a film that can be appreciated by all members of our society. The sex farce was able to start in the sixties because of the changes that were going on in our culture. This was a time of free love, wide spread experimentation with drugs and rebellion against the establishment and the ongoing war in Vietnam. In many ways the same forces are once again active in our culture. This film concentrates on one portion of it but the humanity of the issues and themes is what wins out in the end. This is also a return to something that we don’t get very often, the segment driven movie. The theme is broken up into multiple stories, four in this case. ‘Good Day’ is a well constructed film that will greatly help African American film away from the misconception of niche cinema. The film has universal appeal thanks to the quality that it presents. It was obviously made on a small budget but this is what makes the independent film so great. The feeling of enthusiasm held by the cast and crew reaches off the screen and is instilled in the audience. The movie never had the wide distribution that it so richly deserves but now its DVD release through Indy showcase Magnolia Home Entertainment it can reach out to many more discerning fill buffs.

As is the case with many independent films Dennis Dortch took to wearing several hats for this movie. He wrote, directed, produced, was the music editor and edited it. He is a first timer in the script department but have a couple of other films on his resume for the other functions. Considering this is his initial screenplay it was a great decision to break up the movie into four segments. This gives the work a feel of a venerable literary form of the short story collection. In this case there is a pervading over all theme; sex in the African American community, told through loosely connected segments. While much of this resembles the sex farces from four decades ago it is definitely a modern look at the topic of sex. For example, the current issue of oral sex is taken on; something that would have been unimaginable back then. True to the format this film in all of its parts examines the complex matter of the physical expression of a relationship and how miscommunication frequently gets in the way of the anticipated ecstasy. It is overall extremely funny although there are some very poignant moments to be found here. The movie is an honest look at a difficult subject; one that everybody thinks about but few speak of even to their closest friends or mates. As mentioned this may be about the black take on the subject but it truly is able to transcend that potential restriction.

Dortch’s previous work as a director was limited to short films so this is his feature film premiere. This was a wise move on his part. The format lends itself as a perfect transition between shorts and a full length film. The techniques between the two formats are different enough that when most directors make the leap they are unprepared to maintain a story in the longer venue. Dortch solves this problem by breaking up the theme into smaller bit size pieces. There is an overall path for the film but the segments are so well paced and presented that you get the point with ease. He is also a man able to build a film by concentrating on the details. With many directors that were able to do this in a short they loose track in a longer film. Dortch handles the details with great skill so that every nuance of the performances and stories are given their just attention. He begins the movie with a soundtrack that is running backwards while the camera spins around a young woman in the throws of climax. This does give the feeling that what is about to be shown is not in the usual order and that Dortch is about to flaunt convention; it sounds strange but works.

The previously describe young man, Jeanette (Kathryn Taylor) has just been orally pleasured by her boyfriend, Tony (Brandon Valley Jones). As evident to the audience was quite good and the act he just performed. The first sign of trouble is when Jeanette hands Tony a small glass of mouthwash and a larger container to spit it out. He looks at her strangely feeling he didn’t require such measures. She kisses him lightly, barely touching his lips and turns around to go to sleep. Tony is perplexed; he had been expecting a return of the oral favors. This scenario is not just about sex; it has wider ramifications of the power struggle that exists with most couples and raises the question of whether pleasing your mate should allow the expectation that you will be pleased in a similar manner. The actors here are incredible; they really give the audience a voyeuristic feel that we are watching a real life couple.

This segment has a full old fashion title card that looks like it would be more at home in a forties flick. One note is the names listed are the characters not the actors. Helena Maxwell (Chonte' Harris) is having an affair with D'Andre Mason (Marcuis Harris). Their usual time together is during lunchtime when he stops over for a ‘nooner’. The sex seems to be going well but there is trouble in this little corner of paradise. Helena feels disrespected by D’Andre and gets to the point of threatening to inform his wife about the affair. This segment is perhaps the best of the lot and is the most sensual and explicit.

The topic of this story is virginity. The girl, Tamala (Mylika Davis) has it and her boyfriend, Julian (Jerome Hawkins) wants it. She is steadfast on her position of saving herself for the right time and the backseat of Julian’s car is a long way from how she imagined this once in a lifetime moment would occur. The old ‘my way or the highway’ ultimatum is used and Tamala is left stranded on the road and eventually flirting with an older man. This is a two part story. The first is about peer pressure to have sex while the second considers the appeal a young girl might have for a seemingly kind older man.

Race becomes the key point for this segment. A young Asia woman, Jasmine (Emily Liu) is in love with a black man, Jesse (Alphonso Johnson). She knows that her family is extremely traditional and there is no way that her parents will accept her being with someone who is not from their culture.

This is an excellent film that cuts to the heart of human relationships and the part that sex plays in them. The acting is extremely good giving the look and feel of a small play presented off Broadway. This is what Indy films is about, people with dedication and talent making their vision of a film come true. This is a dramatic look at a very vital part of the human experience and something that should not be missed.