One of the most encouraging and motivational stories of a filmmaker rising above adversity to have his work produced is found in the career of Robert Townsend, whose film Hollywood Shuffle is the epitome of tenacity. Profoundly dedicated to the premise, Townsend not only made the film on a shoestring budget, but whatever resources went into the production were garnered through his efforts to raise money, which is not a particularly easy task, especially not when it comes to mounting an original production that centres on some slightly controversial themes. We’ve spoken at length about that film, so there isn’t any need to relitigate that film or the impact it had on the industry, which is far deeper than we may initially expect. Instead, the focus is on the film that followed it, with Townsend making a radical shift from an irreverent, outrageous comedy to a more sobering, complex affair in the form of The Five Heartbeats, a film that not only references the need for more stories centred around the African-American experience that wasn’t steeped in stereotypical depictions of suffering or focused entirely on the hardship that was asserted on this community (which are essential issues but don’t need to be overtly addressed in absolutely every story) but was produced as a direct result of the acclaim and commercial success that the director received for Hollywood Shuffle, his efforts to pay sufficient tribute to the artists that inspired him being the foundation on which this film is built. About as different as it could get in terms of tone, scope and style, but keeping the same revolutionary intentions and desire to subvert and challenge in creative but provocative ways, The Five Heartbeats is a remarkable work, a detailed and captivating portrait of a generation caught between eras, working as hard as they can to establish themselves in the modern America, while facing many unexpected challenges that are overcome only through their steadfast tenacity and willingness to embrace the trials and tribulations that come with being in the public eye.

When it comes to making the intentions of his films clear, Townsend usually makes very short work, which is why he is one of the more unheralded cinematic storytellers currently working, a director who never fails to deliver on what he promises, even when it skirts around the edges of controversy or focuses on more challenging issues. The Five Heartbeats is quite clearly a film about the broken promises of the American Dream, which was originally conceived to serve only a smart portion of the population, rather than the entire country, with many that did not fit the idealistic standards of what it meant to be American being left to fall by the wayside. It is not a particularly inventive concept, and there is nothing in this film that appears all that original, at least not at a cursory glance – in fact, there is an argument to be made that this story will always stand in the shadows of Dreamgirls, a much more notable work that traverses many of the same themes, some of the plot points even overlapping in terms of frame of reference and real-world inspiration (my personal view is that both works can exist in harmony, and often seem to be in dialogue with one another – it isn’t clear whether or not Townsend envisioned it as such, but it is certainly an interesting concept), which means that there isn’t much that can be said here that we haven’t seen before. The primary difference is that The Five Heartbeats sacrifices originality for consistency, not necessarily only in the tone the film takes, but also in the specific story that is being told. Inspired not by a single group, but rather a general analysis of the male vocal groups that reigned supreme at the time, The Five Heartbeats is a thrilling and captivating examination of identity, as seen through the perspective of a few characters navigating challenges that they did not expect while embarking on this journey, not realizing the price of fame and fortune until they find themselves at rock bottom, a place where far too many artistic careers tend to fall, very few managing to rise above the innumerable obstacles set in place to keep them there.

While most of the conversation around Townsend’s career points to his status as a truly unheralded writer and director, we often neglect to realize how strong of an actor he was as well – Hollywood Shuffle demonstrated that he was a great comedian, and someone with an immense versatility, but it was The Five Heartbeats that demonstrated his dramatic skills, which one could argue was a logical progression for the actor. His performance in this film is a peculiar one – he is the lead character, but he isn’t playing the most notable part, is smart enough to place himself in a role that is prominent but not outside of his wheelhouse, since he knows his limitations, and understood that he was far more effective in the role of the band’s songwriter and backing vocalist, rather than the lead singer, who needed someone who embodied the devil-may-care charisma needed to truly sell the character. We see the story through Townsend’s character’s eyes, and it reveals many fascinating truths, and his performance in itself is quite an achievement. He is supported by Harry Lennix Jr, Leon Robinson and Tico Wells, who play his fellow bandmates, and Michael Wright as the leading vocalist, who turns in arguably the second-best performance in the film. These are not easy roles, both in terms of having to not only act but sing (or rather give the impression of singing, which is not an easy skill to develop) and dance, which progresses and changes as the music being performed undergoes a shift, which was quite major between the eras in which this film took place. It’s a terrific cast, and even the smaller supporting roles (such as the deeply influential Diahann Carroll, and the iconic Harold Nicholas, one half of the revolutionary dance duo The Nicholas Brothers) make a profound impact on the narrative, turning The Five Hearbeats into the true embodiment of an ensemble effort.

An aspect of The Five Heartbeats that is as equally important to recognise as the deeper social and cultural meaning, as well as the role these characters play in conveying a very specific message is the directorial skill that went into this film’s creation. Townsend is usually cited as being someone with extraordinarily broad ambitions, but his actual talent as a filmmaker in terms of the formal elements is rarely discussed, despite him showing exceptional talent and a skillfulness that has inexplicably been underestimated for his entire career. This is most clear in The Five Heartbeats, which is an extremely well-constructed film that blends multiple genres – it is mostly a period drama, set between the 1960s and 1970s, covering the peak of soul music to the outbreak of the Vietnam War, both of which were major events that changed the culture in different ways. It also employs elements of romance and melodrama, tying everything together with a sense of gentle but endearing humour that was not compulsory, but gives the film a boost of energy and allows the themes to be examined with slightly more detail. This isn’t even mentioning the music, which is curated by an exceptional team, who work meticulously to create an aural landscape that can mirror the colourful, eccentric visual components of the film. Townsend is a director who defines the idea of dedication, and every film he made during this period was a passion project, the result of long-gestating ideas that finally came to fruition through his laborious work to get funding to tell his stories. He was deeply committed to this material, which is fresh and invigorating, while still very much defined by the time and place in which the film transpires, and Townsend’s ability to move fluidly through roughly a decade, in which everything about the culture, including its worldview, was called into question. These are the fragments from which this film is built, elevating it beyond any expectations and becoming truly extraordinary in how it develops many of its themes on both a conceptual and visual level.

It is obvious that Townsend considers The Five Heartbeats to be his masterpiece, the best directorial achievement of his career – and we are most certainly inclined to agree with him. While he may be most well-remembered for Hollywood Shuffle, it is this film that brings out the best in him as a director, since not only does it tell a richer, more evocative story, but it was built from the success of the previous film, which became enough of a success to get the director another chance to work behind the camera. It is not as well-known as it should be, since it has unfortunately been obscured by many similar films that purport to focus on the same issues, just with much broader ambitions that capture the audience’s attention far more than this film, which sells itself on consistency and soul, both of which are incredibly insightful and meaningful ways of approaching this material, and not something that should ever be underestimated, let alone the source of criticism against this heartfelt, compelling musical drama. Townsend is one of the most ambitious and dedicated filmmakers of his generation, but he remains inexplicably underpraised, his work is consistent and interesting, and as a filmmaker, he has demonstrated incredible diversity. Yet, there is so much to explore with this film, and it is ripe for rediscovery, hopefully by a generation that will appreciate its genius, whether we focus on the socio-cultural foundations, or simply splendour in the beautiful music, it is clear that The Five Heartbeats is a truly entertaining, engrossing examination of history, as seen through the perspective of someone who experienced this era, albeit in his childhood, and was intent on telling a story that has meaning and pays tribute to the past in a way that is always entertaining and unquestionably compelling.