You've never seen anything like this..... Moms Mabley, looking a few inches away from the grave (and not caring one bit), taking no prisoners and giving no quarter as she lays into corrupt white and black politicians in her Baltimore neighborhood. Mabley is like nobody you have ever seen in a film before: from her missing teeth, bald patch on her head, cheap floral print dresses, plastic fruit on her dinner table, and her bizarre (but not stereotyped) speech patterns, she cuts a figure that is a million miles away from what the ads billed as "America's Most Glamorous, Sexiest Female Superstar!" Forget about Madea, Moms Mabley is the real deal. Not only is she funny as all heck, especially when she spars with sexy Rosalind Cash, light-skinned dicty wife of a would-be mayoral candidate (Moses Gunn), but her sincerity and warmth also come across strongly when she speaks about gentrification and corruption.
Backing her up, as well as Cash and Moses who acquit themselves without embarrassment, are Slappy White (who plays her husband, a retired Pullman worker with faded youthful dreams of being "better than" Bill Robinson and every other black performer he can recall off the top of his head), and the devious James Karen (who may have earned himself his role as the sleazy real estate man in "Poltergeist" with his fearless portrayal of a white scumbag), as well as a few cameos from other black stars of yesteryear. Butterfly McQueen has a funny scene as a sort of campaign consultant, and Stepin Fetchit himself appears (as himself) early on.
I enjoyed the film a lot -- it's a unique comedy, Mabley is laugh-out-loud funny and seems just on the edge of senility. She has the sort of attitude like "well, I'm going to die any day, so I might as well tell EVERYBODY just what I think." I enjoyed how the film played on the way everyone, including Moses' slick black politician, under-estimates her intelligence until it's too late.
There's also an oddly affecting angle in the film, a sort of wistful nostalgia for black entertainment of the past, as the film attempts to bring people like Mabley and White into the modern era. In one of the film's first scenes, White is intoxicated as he handles his duties on his last day of work as a Pullman conductor. One of the passengers, a young black man in a college shirt, becomes indignant at his "shuck and jive" -- he's tap dancing in the train's hall, offering the passengers fried chicken with a big grin -- but after a fight almost breaks out, the two come to an understanding, and the young man helps Mabley and White in their quest to rid government of corrupt white people. The film seems to be saying: it's one thing to be proud, another thing to lose the ability to laugh at yourself.