Cornbread, Earl and Me (1975)

PG | 95 mins | Drama | 21 May 1975

Director:

Joe Manduke

Producer:

Joe Manduke

Cinematographer:

Jules Brenner

Editor:

Aaron Stell

Production Designer:

David Haber

Production Company:

ML Productions
Full page view
HISTORY

According to a 21 Dec 1987 Chicago Tribune article, financial advisor Melvin Pearl was working as a tax attorney for real estate developer Leonard Lamensdorf in 1972 when Lamensdorf told Pearl about his novel, Hit the Open Man, which he believed would make a good film. Pearl then set up a meeting at American International Pictures (AIP) via a former classmate. AIP liked the story and offered to fund half of the picture’s $800,000 budget. Lamensdorf and Pearl raised the remaining $400,000 from Chicago, IL-based investors. Although Lamensdorf received executive producer and screenwriting credits, his book is not credited; instead, Ronald L. Fair’s novel, Hog Butcher (New York, 1966), is cited onscreen as source material.
       A 31 Jan 1984 Philadelphia Daily News article stated that the basketball-playing character, “Nathaniel ‘Cornbread’ Hamilton,” was partly based on Darryl McCray, a former graffiti artist who had since renounced graffiti and was working with troubled adolescents. As noted in a 14 Jul 1977 LAT article, Jamaal “Keith” Wilkes, the actor who played Cornbread, was an All American player on the University of California, Los Angeles’s (UCLA) Bruins basketball team and was the National Basketball Association’s (NBA) 1974 Rookie of the Year.
       A 13 Mar 1975 DV news item announced that American International Pictures (AIP) had acquired distribution rights to the film. Several benefit premieres were sponsored by the United Negro College Fund, with the Los Angeles, CA, benefit set to take place at the Screen Directors Guild on 15 May 1975, according to a 23 Apr 1975 LAT brief.
       An item in the 30 May 1975 ...

More Less

According to a 21 Dec 1987 Chicago Tribune article, financial advisor Melvin Pearl was working as a tax attorney for real estate developer Leonard Lamensdorf in 1972 when Lamensdorf told Pearl about his novel, Hit the Open Man, which he believed would make a good film. Pearl then set up a meeting at American International Pictures (AIP) via a former classmate. AIP liked the story and offered to fund half of the picture’s $800,000 budget. Lamensdorf and Pearl raised the remaining $400,000 from Chicago, IL-based investors. Although Lamensdorf received executive producer and screenwriting credits, his book is not credited; instead, Ronald L. Fair’s novel, Hog Butcher (New York, 1966), is cited onscreen as source material.
       A 31 Jan 1984 Philadelphia Daily News article stated that the basketball-playing character, “Nathaniel ‘Cornbread’ Hamilton,” was partly based on Darryl McCray, a former graffiti artist who had since renounced graffiti and was working with troubled adolescents. As noted in a 14 Jul 1977 LAT article, Jamaal “Keith” Wilkes, the actor who played Cornbread, was an All American player on the University of California, Los Angeles’s (UCLA) Bruins basketball team and was the National Basketball Association’s (NBA) 1974 Rookie of the Year.
       A 13 Mar 1975 DV news item announced that American International Pictures (AIP) had acquired distribution rights to the film. Several benefit premieres were sponsored by the United Negro College Fund, with the Los Angeles, CA, benefit set to take place at the Screen Directors Guild on 15 May 1975, according to a 23 Apr 1975 LAT brief.
       An item in the 30 May 1975 DV noted that the film took in $83,512 in box-office receipts at New York City’s Penthouse Theatre in its first week of release. The 14 Jul 1977 LAT stated that Cornbread, Earl and Me was ultimately a box-office success.
       As noted in 8 May 1975 DV and 7 Jul 1975 Box news items, the film was cited in the Congressional Record by Representative Thomas M. Rees of CA, who urged theater owners to screen the film, which "portray[ed] with great human dignity and drama the hopes, the aspirations and the warm family values of a black community." On 30 Jun 1975, Cornbread, Earl and Me was honored by the Los Angeles City Council for "excellence in community service and entertainment."
       An 11 Dec 1976 LAT brief reported that roughly 100 youths rioted at a West Los Angeles, CA, movie theater, which was playing Cornbread, Earl and Me as well as Cooley High and J.D.’s Revenge (1975 and 1976, see entries). The rioters threw projectiles through the screen, broke windows, destroyed theater seats and the box office, and injured two police officers, but the motive for the riot was undetermined at the time of reporting.
       The film marked Laurence Fishburne’s feature motion picture acting debut.

Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
5 May 1975
p. 4777
Box Office
7 Jul 1975
---
Chicago Tribune
21 Dec 1987
p. 1
Daily Variety
13 Mar 1975
---
Daily Variety
8 May 1975
---
Daily Variety
30 May 1975
---
Hollywood Reporter
19 May 1975
p. 3, 8
Los Angeles Times
23 Apr 1975
Section H, p. 12
Los Angeles Times
21 May 1975
pp. 20-21
Los Angeles Times
11 Dec 1976
p. 25
Los Angeles Times
14 Jul 1977
Section F, p. 1
Los Angeles Times
14 Apr 1991
p. 17
New York Times
22 May 1975
p. 34
Philadelphia Daily News
31 Jan 1984
p. 5
Variety
14 May 1975
p. 31
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
a Joe Manduke/Leonard Lamensdorf film
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
Asst dir
PRODUCERS
Exec prod
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
Key grip
Dolly grip
Larry Butler
Asst cam
2d grip
2d elec
ART DIRECTOR
Art dir
FILM EDITOR
SET DECORATORS
Set dec
Prop master
Leadman
COSTUMES
Ward des
MUSIC
Orig mus comp
Mus performed by
Mus asst
SOUND
Sd mixer
Sd boom man
Post prod sd by
VISUAL EFFECTS
Spec eff
Titles and opticals by
MAKEUP
Makeup
PRODUCTION MISC
Casting
Exec asst
Scr supv
Transportation capt
Extra casting
Prod secy
Prod asst
Prod auditor
Craft service
Cecomobile driver
Basketball consultant
Financial adv
Financial adv
Loc equip by
COLOR PERSONNEL
Col by
SOURCES
LITERARY
Based on the novel Hog Butcher by Ronald L. Fair (New York, 1966).
LITERARY SOURCE AUTHOR
DETAILS
Alternate Titles:
Hit the Open Man
Hog Butcher
Release Date:
21 May 1975
Premiere Information:
Los Angeles and New York openings: 21 May 1975
Production Date:

Copyright Info
Claimant
Date
Copyright Number
ML Productions, Ltd.
21 May 1974
LP46554
Physical Properties:
Sound
Color
Duration(in mins):
95
MPAA Rating:
PG
Country:
United States
Language:
English
SYNOPSIS

Two weeks before leaving for college on a basketball scholarship, African American teenager Nathaniel “Cornbread” Hamilton, dribbles a basketball inside his apartment. Although the incessant basketball playing annoys his mother, Leona, Cornbread’s father, Sam, encourages it, passing the ball with his son across the dining room table. At a neighborhood basketball court, twelve-year-old Wilford Robinson and his friend Earl Carter cheer Cornbread on, arguing whether or not he is the best player in the country. Later, Wilford’s mother, Sarah, is visited by a welfare worker who suspects she has lied about a heart condition to receive welfare checks. Offended by the accusation, Sarah reluctantly agrees to go to a clinic for an examination. Later, Sarah returns from a date with her boyfriend and neighbor, Charlie, as Earl and Wilford watch television on her bed. Annoyed that Wilford has ruined a romantic liaison with Sarah, Charlie retreats to his apartment upstairs. At the recreation center where Cornbread works part-time, Wilford practices dribbling while Cornbread coaches him. Two thugs interrupt, claiming that they left pills in the locker room. Cornbread admits to flushing the drugs down the toilet, and the thugs beat him, but run away when Cornbread’s boss, Mr. Wilson, appears. Nearby, African American police officer Larry Atkins and his white partner, John Golich, arrive at a crime scene where a woman has been shot. While Atkins waits for an ambulance, Golich chases the gunman. Meanwhile, at Fred Jenkins’s convenience store, Cornbread buys sodas for himself, Wilford, and Earl. Wilford bets that Cornbread can make it home in twenty-five seconds and Earl bets against him. Grabbing another soda, Cornbread runs outside in the rain, attempting to make it home in ...

More Less

Two weeks before leaving for college on a basketball scholarship, African American teenager Nathaniel “Cornbread” Hamilton, dribbles a basketball inside his apartment. Although the incessant basketball playing annoys his mother, Leona, Cornbread’s father, Sam, encourages it, passing the ball with his son across the dining room table. At a neighborhood basketball court, twelve-year-old Wilford Robinson and his friend Earl Carter cheer Cornbread on, arguing whether or not he is the best player in the country. Later, Wilford’s mother, Sarah, is visited by a welfare worker who suspects she has lied about a heart condition to receive welfare checks. Offended by the accusation, Sarah reluctantly agrees to go to a clinic for an examination. Later, Sarah returns from a date with her boyfriend and neighbor, Charlie, as Earl and Wilford watch television on her bed. Annoyed that Wilford has ruined a romantic liaison with Sarah, Charlie retreats to his apartment upstairs. At the recreation center where Cornbread works part-time, Wilford practices dribbling while Cornbread coaches him. Two thugs interrupt, claiming that they left pills in the locker room. Cornbread admits to flushing the drugs down the toilet, and the thugs beat him, but run away when Cornbread’s boss, Mr. Wilson, appears. Nearby, African American police officer Larry Atkins and his white partner, John Golich, arrive at a crime scene where a woman has been shot. While Atkins waits for an ambulance, Golich chases the gunman. Meanwhile, at Fred Jenkins’s convenience store, Cornbread buys sodas for himself, Wilford, and Earl. Wilford bets that Cornbread can make it home in twenty-five seconds and Earl bets against him. Grabbing another soda, Cornbread runs outside in the rain, attempting to make it home in record time. Nearby, Golich searches for the gunman, rounds a corner, and shoots Cornbread, mistaking him for the criminal. Wilford rushes into the street and cries hysterically, alerting the neighbors that the police killed Cornbread. A riot breaks out, and Cornbread’s neighbors beat Golich and Atkins. Soon after, Wilford tells Sarah that he never wants to play basketball again. To cheer him up, Sarah takes him to an amusement park. At the office of Ben Blackwell, an African American lawyer, Leona and Sam insist that their son was innocent despite police reports indicating otherwise. The Hamiltons do not want to sue the city for money, but only want to clear Cornbread’s name. Blackwell warns them the police will do everything they can to cover up any wrongdoings and the proceedings might be expensive. In tears, Leona produces the airplane ticket that Cornbread was supposed to use to go to college. She promises to get a refund for the ticket and use the money to pay Blackwell. The lawyer visits Atkins, who is convalescing at the hospital. Atkins, a childhood friend of Blackwell’s, stands by his claim that Cornbread was the shooter, but admits that Golich has expressed uncertainty. Police detectives Simmons and Kelly approach Fred Jenkins, the owner of the convenience store where Cornbread was last seen before his death. They threaten to plant drugs in Jenkins’s store if he acts as a witness in the Hamiltons’ civil lawsuit, so Jenkins promises to remain mum. Johnson, the police precinct captain, goes to Sarah’s apartment with Sergeant Danaher, who manhandles Wilford while warning him not to testify. When Sarah tries to protect her son, Danaher strikes her and promises she will lose her welfare checks if Wilford does not obey. That night, Wilford finds Blackwell and repeats what happened with Danaher. The boy refuses to lie, and says he believes he must run away so that Sarah can keep her welfare support. Blackwell takes Wilford to file an official witness statement at the police station, then brings the boy back home. Taking an interest in Sarah, Blackwell asks her out on a date and says Wilford is extraordinary. Sarah embraces her son and tells Wilford he must do whatever he thinks is right. At the inquest, Blackwell questions Golich, who admits that Cornbread had no weapon at the time he was shot. Jenkins testifies that he saw nothing, prompting Sam and Wilford to cry out from the audience, accusing him of lying. Earl takes the stand but remains silent while his father shouts that the boy knows nothing. The deputy coroner remarks that the witnesses seem particularly clueless, and Blackwell says that it is due to police intimidation. Finally, Wilford takes the stand and gives a detailed account of the hours surrounding Cornbread’s murder, including the bet he made that Cornbread could run home in twenty-five seconds. Atkins then surprises everyone by testifying that Wilford’s account is correct. Outraged, Danaher accosts Atkins and Golich outside the courtroom, but Golich punches him, sending him to the ground. That night, Wilford practices shooting basketballs once again and reconciles with Earl, who joins him on the court.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

Dorothy McGuire

Split-reel with ... >>

Broken Arrow

The working titles of this film were Blood Brother , Arrow and War Paint . In an author's note to the novel Blood ... >>

Gone with the Wind

[Note from the Editors : the following information is based on contemporary news items, feature articles, reviews, interviews, memoranda and corporate records. Information obtained from modern sources is ... >>

The Jazz Singer

The film opens with the following written prologue: "In every living soul, a spirit cries for expression--perhaps this plaintive, wailing song of Jazz is, after all, the misunderstood ... >>

The Affairs of Anatol

The film begins with the following prologue: “This is the story of a romantic Young Man who has a passion for saving Ladies from real, or imaginary, difficulties—always like ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.