This movie was tailor made for Diana Ross, at the height of her career, & it's a must see for all her fans. Sure, it's pure fantasy but it is very entertaining. It's in the campy/angst ridden/clichéd genre of rags to riches movies like "Valley of The Dolls", "Back Street", "Harlow", etc. The movie is overloaded with Ross from the theme song, the (ugly) clothing she designed for it, & the fact that she's in just about every scene. It SCREAMS: 1970'S!!! But of course, Miss Ross was a dominant part of that decade (along w/the mid to late 60's). Billy Dee Williams is very good as her leading man, as he was in "Lady Sings The Blues". Ham-bone Anthony Perkins plays a flaming "Psycho" to the hilt. Take note of Miss Ross in the early part of the film. Gone are the huge hair extensions, overblown eye make up, etc. She looks great. Watch this movie for pure 1970's escapism. By the way, I love the happy ending :)!
50 Reviews
Trash-classic is more entertaining than most high-brow films
moonspinner5528 May 2001
Ghetto girl from Chicago wants to be a fashion designer, but her politician boyfriend wants her instead to help him take care of the unfortunates at home (which is more important, after all, than working with coat-hangers, but can't he see that a big salary from the Mrs. might be used to strengthen his campaign?). As good as Diana Ross was in "Lady Sings the Blues", I was restless with that film for a number of reasons (it followed the standard bio-flick pattern, it was heavy-handed and drab). However, "Mahogany" exists purely on adrenaline, and Ross is hyped-up, high on life, and her kicky fashion scenes are both entertaining and gaudy. The love story with Billy Dee Williams is relaxed, Anthony Perkins is loose and campy as a gay shutterbug who puts the moves on La Ross, and the decadent, glamorous surroundings are fun escapism. As for the finale, it is truly gauche...but at least it has the courage to follow through with its happily-ever-after convictions, even if the poverty-stricken crowds cheering at the end have no idea they're being condescended to. *** from ****
"People may deceive, outwit, and humiliate. A gun simply BLOWS a head off!"
utgard1415 September 2014
Poor inner-city girl (Diana Ross) just wants to be a successful fashion designer but can't get a big break. She finally does get a break, not as a designer but as a model. She becomes world famous and eventually gets the chance to show the world her designs. Oh, and there's some stuff about an up-and-coming politician (Billy Dee Williams) she loves and a homosexual photographer (Anthony Perkins) who "understands the needs of a woman."
Cheesy kitsch from Berry Gordy. The story is trite and the performances are mostly unimpressive. Anthony Perkins does ham it up, which is the primary reason to recommend this. Once his character is gone the movie goes downhill fast. Also features B-movie legend Nina Foch and the film debut of Bruce Villanch. Diana Ross shows her limitations as an actress but at least she does so in hilariously awful fashion. Speaking of fashion, don't eat before seeing this movie or you might lose your lunch at the sights of some of the terrible dresses on display. It was the '70s, baby. Diana sings the theme song ("Do You Know Where You're Going To") that plays throughout the movie. It didn't impress me much at first but damned if it wasn't stuck in my head by the end. It's not a good movie but there is so-bad-it's-good value.
Watch for the ghetto photo shoot scene. As Diana and Billy Dee argue there's this background actor in between them whose eyes just go from one actor to the other as they say their lines like he's watching a tennis match. All of the other actors behind them look away from them, pretending they aren't talking loudly right in front of everybody. But not this guy. I don't know if he was an actual actor or an extra or what but sticking him in the middle of the scene turns a dramatic scene into comedy. A perfect example of the kind of quality that went into making this.
Cheesy kitsch from Berry Gordy. The story is trite and the performances are mostly unimpressive. Anthony Perkins does ham it up, which is the primary reason to recommend this. Once his character is gone the movie goes downhill fast. Also features B-movie legend Nina Foch and the film debut of Bruce Villanch. Diana Ross shows her limitations as an actress but at least she does so in hilariously awful fashion. Speaking of fashion, don't eat before seeing this movie or you might lose your lunch at the sights of some of the terrible dresses on display. It was the '70s, baby. Diana sings the theme song ("Do You Know Where You're Going To") that plays throughout the movie. It didn't impress me much at first but damned if it wasn't stuck in my head by the end. It's not a good movie but there is so-bad-it's-good value.
Watch for the ghetto photo shoot scene. As Diana and Billy Dee argue there's this background actor in between them whose eyes just go from one actor to the other as they say their lines like he's watching a tennis match. All of the other actors behind them look away from them, pretending they aren't talking loudly right in front of everybody. But not this guy. I don't know if he was an actual actor or an extra or what but sticking him in the middle of the scene turns a dramatic scene into comedy. A perfect example of the kind of quality that went into making this.
Attractive kitsch
bwaynef13 May 2003
The fashionable word for Mahogany is "kitsch." It's a guilty pleasure that you know is bad, but you just can't help enjoying it. Casting Diana Ross as a fashion model was truly inspiring since it gives her an opportunity to look sensational throughout. This she does with little effort. Billy Dee Williams is fine as her idealistic boyfriend intent on changing the world rather than his clothes, but the most fun is provided by Anthony Perkins whose performance could be subtitled "Norman Bates's Greatest Hits." As the neurotic and gay photographer, he chews the scenery like never before, and gives a sensational performance.
Mahogany is a scream...but did not intend to be
style-231 January 2005
Warning: Spoilers
"And now, Mahogany presents
the Kabuki Finale!" This is the movie that made me want to be a fashion designer *and* a drag queen. Who else would be able to sit through this tripe? But if you're a designer *or* a drag queen, or at least play one on TV, this is *delectable* tripe. Just like in *Mommie Dearest* when you *know* you're looking into the heart of Joan Crawford, *Mahogany* makes you feel as if you're looking into the heart of Diana Ross. A vanity production to beat *all* vanity productions, Mr. Gordy showcases his star (who was also his lover, *and*, we now know, mother of his child) in her first non-singing film -- her only other film being *Lady Sings The Blues*. In this self-serving tale of the perils of stardom, Diana, as Tracy Chambers, scales the heights of the glamour and glitter of international high fashion and plummets directly into Bad-Movie-Hall-Of-Fame. Tracy is in school to be a fashion designer, and we know this because we see her riding the bus around town sketching big drag queen-y outfits. But one humiliating interview follows another (Diana *excels* in demonstrating humiliation lots of teeth-gnashing and tossing her head), and life looks grim. Even the local neighborhood activist (this *is* the Seventies), played by the devastatingly handsome, but not deeply talented Billy Dee Williams, holds no charms for her. He wants to make the world a *better* place, and *she* just wants to make it a *prettier* place. Just when things seem hopeless, her job in the display department of a local department store puts her in the line of vision of a famous, but unstable fashion photographer, played to extreme by Anthony Perkins. Perkins mistakes Ross for a fashion model, and is smitten by her beauty *and* her commercial possibilities. He assigns her the name of Mahogany (since he names *all* of his women after inanimate objects), and she skyrockets, amidst *much* of Miss Ross' signature teeth gnashing, to the very pinnacle of the high-fashion scene. Unsatisfied with such superficial glory, and intent on furthering her own design career, Tracy/Mahogany slips one of her own designs into a fashion show she's modeling in. It is a hysterical, yet painful moment as the crowd falls silent and Mahogany is left on the stage and complete embarrassment. But the day is saved by an older Italian gentleman who becomes her lover and mentor. He bankrolls a design house for her, of course, and she scores another major success. This leads to a particularly favorite scene where Ross is in her element as the prima donna couturierre, she parades through her workroom, issuing demands and dictums, and eventually becomes entirely unglued, shrieking and cursing at her workers, who, not speaking English, have no idea what she's carrying on about. This scene seems to sum up Ross herself, as so many in this movie do, and she is utterly delightful but *not* in a pleasant way. Of course, it's inevitable that Mahogany will chuck her entire career in the trash and go home to Mr. Right, having learned her lesson about the ugly business of beautiful clothes, and the viewer sighs a sigh of palpable relief that this movie, this monument to egotism, has finally come to an end. Writing credits go to John Byrum and Bob Merrill. I don't imagine that they put this movie on their resumes.
....But She Knew Where She Was Going To-Mahogany **1/2
edwagreen24 August 2009
Warning: Spoilers
Love the Oscar nominated song-Do You Know Where You're Going to? It is sung as the theme throughout this film.
I was expecting a Diana Ross performance as I saw in her nominated "Lady Sings the Blues" of 1972. Unfortunately, I didn't get that. In fact, much of the supporting cast lives up to the word mahogany as they are quite wooden here. Jean Pierre Aumont, always capable, of throwing wonderful performances as in "Sins," Nina Foch, as Ross's boss, and Beah Richards as Aunt Florence, are really quite stiff here.
The picture belongs to Billy Dee Williams as a Barack Obama-like Chicago organizer, who is the endearing part of Ross's life. Other then some temper tantrums, Ross could have better job here. He sees politics as related to all in life and his performance shows it as well.
Anthony Perkins is an older extension with his boyish looks from the Bates Motel. He really goes over-the-top here as a fashion photographer off his rocker.
The theme is that success and money can't buy everything. What else is new?
I was expecting a Diana Ross performance as I saw in her nominated "Lady Sings the Blues" of 1972. Unfortunately, I didn't get that. In fact, much of the supporting cast lives up to the word mahogany as they are quite wooden here. Jean Pierre Aumont, always capable, of throwing wonderful performances as in "Sins," Nina Foch, as Ross's boss, and Beah Richards as Aunt Florence, are really quite stiff here.
The picture belongs to Billy Dee Williams as a Barack Obama-like Chicago organizer, who is the endearing part of Ross's life. Other then some temper tantrums, Ross could have better job here. He sees politics as related to all in life and his performance shows it as well.
Anthony Perkins is an older extension with his boyish looks from the Bates Motel. He really goes over-the-top here as a fashion photographer off his rocker.
The theme is that success and money can't buy everything. What else is new?
Success means nothing without somebody with whom to share it.
Hey_Sweden21 December 2021
Hot off her turn as Billie Holiday in "Lady Sings the Blues", singer Diana Ross is cast here as Tracy, a secretary in the fashion business who yearns to make it big as a designer. She falls in love with Brian (her "Lady Sings the Blues" co-star Billy Dee Williams), an earnest, well-meaning aspiring politician. But she's focused on her career, which gets a big boost when she hooks up with Sean McAvoy (Anthony Perkins), a flamboyant photographer; she's on top of the world after she makes a splash as a model, but Sean ultimately reveals himself as a vindictive, sleazy, creepy type.
Ross does well in this decent soap opera from music industry mogul / debuting filmmaker Berry Gordy (who stepped in after firing original director Tony Richardson). In fact, she and Williams are quite engaging as they depict all of the various ups and downs in the Tracy / Brian relationship. Offering fine support are Jean-Pierre Aumont, Nina Foch, Marisa Mell, and Beah Richards, but it's Perkins that gives this entertaining trash an effective shot in the arm, playing the kind of role that he was clearly born to play. There's a memorable scene where Sean shows Brian his collection of photographs - and guns.
Making good use of Chicago and Rome locations, "Mahogany" tells a patently predictable yarn (scripted by John Byrum, based on a story by Toni Amber), where the audience is never in much doubt as to how things will develop. Tracy will eventually have to decide what's really important in her life, while Brian finds himself unable to fit into this new world of hers.
"Mahogany" is overall slight but likeable enough, managing to go a fair distance on the strength of the performances. Ross also is credited with actually creating some of the costumes.
Six out of 10.
Ross does well in this decent soap opera from music industry mogul / debuting filmmaker Berry Gordy (who stepped in after firing original director Tony Richardson). In fact, she and Williams are quite engaging as they depict all of the various ups and downs in the Tracy / Brian relationship. Offering fine support are Jean-Pierre Aumont, Nina Foch, Marisa Mell, and Beah Richards, but it's Perkins that gives this entertaining trash an effective shot in the arm, playing the kind of role that he was clearly born to play. There's a memorable scene where Sean shows Brian his collection of photographs - and guns.
Making good use of Chicago and Rome locations, "Mahogany" tells a patently predictable yarn (scripted by John Byrum, based on a story by Toni Amber), where the audience is never in much doubt as to how things will develop. Tracy will eventually have to decide what's really important in her life, while Brian finds himself unable to fit into this new world of hers.
"Mahogany" is overall slight but likeable enough, managing to go a fair distance on the strength of the performances. Ross also is credited with actually creating some of the costumes.
Six out of 10.
Gave extra star bc of Fashion and well known song
padawanmovies21 September 2017
Warning: Spoilers
Being a fan of The Supreme's I heard some of Diana Ross's music on their greatest hits compilations so I'm familiar with Mahogany's theme: "Do you know where you're going to". So I figured I'd watch the movie, especially considering how good Ross was in Lady sings the Blues, that must have jus been a one time thing. Mahogany is NOT GOOD AT ALL. Anthony Perkins' (bit of a hottie in this) and Ross's chemistry is jus weird, frankly the chemistry of EVERYONE was bad: Ross & Williams, Williams & Perkins, EVERYONE. *spoilers ahead* As a fan of 70s fashion, I LOVED THE costumes in this: the rainbow dress during her 1st fashion shoot, the white ensemble with the green & orange hair accessories and necklace, and the beige outfit with the big hat she wore in front of the Italian modeling agency were some of my stand out FAVES.
Some of my least favorite parts include: 1)Diana's limited skill set 2)all Ross's parts with Williams, they had soo much chemistry in LSTB but it was Beyond wooden in this. Their banter in the unemployment office, the scene where she tricks him with milk (she thought it was uproarious, it really wasn't), the date scene, their entire relationship: we're supposed to believe they're in love, they hardly knew anything about each other 3) scene btwn Williams & Perkins battling with the gun. One of the funniest things I've ever seen, sad bc it shouldn't have been so. I actually loved this scene but it still Truly Sucked 4) movie as a whole was just very flat and wasn't strong enough to warrant consumer $$. However I must say I laughed sooo hard during Perkins' beginning fashion shoot when he told the brunette model "It looks too horny" for some reason that Cracked me up... And the car crash scene has to be seen to b believed HaHa
Some of my least favorite parts include: 1)Diana's limited skill set 2)all Ross's parts with Williams, they had soo much chemistry in LSTB but it was Beyond wooden in this. Their banter in the unemployment office, the scene where she tricks him with milk (she thought it was uproarious, it really wasn't), the date scene, their entire relationship: we're supposed to believe they're in love, they hardly knew anything about each other 3) scene btwn Williams & Perkins battling with the gun. One of the funniest things I've ever seen, sad bc it shouldn't have been so. I actually loved this scene but it still Truly Sucked 4) movie as a whole was just very flat and wasn't strong enough to warrant consumer $$. However I must say I laughed sooo hard during Perkins' beginning fashion shoot when he told the brunette model "It looks too horny" for some reason that Cracked me up... And the car crash scene has to be seen to b believed HaHa
Camptastic
clivechristy17 June 2010
This movie is a roller-coaster of camp, from start to finish. It is like a bunch of gay men sat down to figure out how to dress up Diana Ross and put her in different outfits all done to a never-ending loop of Diana's own song. The montage of Diana as fashion model is perhaps one of the funniest and campest scenes in a movie, and of course was copied almost shot for shot for the Beyonce montage scene in "Dreamgirls". It has to be seen to be believed.
But no-one can inspire a drag queen like Ms. Ross who never lets plot or story-line interfere with her chances to soft pout or give us long enigmatic looks. The good thing is the plot and story-line is so thin and transparent, she doesn't have to struggle too much. The storyline is simple....girl from the projects with big dreams leaves behind the bleakness of Chicago as she is "discovered" by Anthony Perkins who can't quite figure out if he is gay in the movie (as he was in real life) or straight. He veers from camp to psychotic misogynist sometimes in the same scene. The result is unintentional hilarity.
Part of the rags to riches subplot (if you can call it that) is the Billy Dee Williams character who we know is the true love of Ms.Ross. He is a local activist in Chicago who runs for political office. This part of the story is boring, because Diana isn't dressed up and mincing though every scene. It is also boring because Billy Dee's character is almost as clichéd as the rest of the story. Fighting the white honky sometimes with words but sometimes with fists. He is down-to-earth and hard-working as well as fearless. We are supposed to want him to win. Ms.Ross makes a decision that happiness trumps fame and glory and that is the end...or kind of the end. Actually I don't remember the story, because the camera barely moves from Ross the whole time.
If you love high camp then this movie is for you. At one point Diana Ross says, "I wonder if I'm doing the right thing.." Oh Diana, you are. You are doing the right thing. Fun fact, some of the frocks on display were designed by Ms. Ross, and the whole camp drag-show was put together by her then lover, Berry Gordy.
This move is camptastic!
But no-one can inspire a drag queen like Ms. Ross who never lets plot or story-line interfere with her chances to soft pout or give us long enigmatic looks. The good thing is the plot and story-line is so thin and transparent, she doesn't have to struggle too much. The storyline is simple....girl from the projects with big dreams leaves behind the bleakness of Chicago as she is "discovered" by Anthony Perkins who can't quite figure out if he is gay in the movie (as he was in real life) or straight. He veers from camp to psychotic misogynist sometimes in the same scene. The result is unintentional hilarity.
Part of the rags to riches subplot (if you can call it that) is the Billy Dee Williams character who we know is the true love of Ms.Ross. He is a local activist in Chicago who runs for political office. This part of the story is boring, because Diana isn't dressed up and mincing though every scene. It is also boring because Billy Dee's character is almost as clichéd as the rest of the story. Fighting the white honky sometimes with words but sometimes with fists. He is down-to-earth and hard-working as well as fearless. We are supposed to want him to win. Ms.Ross makes a decision that happiness trumps fame and glory and that is the end...or kind of the end. Actually I don't remember the story, because the camera barely moves from Ross the whole time.
If you love high camp then this movie is for you. At one point Diana Ross says, "I wonder if I'm doing the right thing.." Oh Diana, you are. You are doing the right thing. Fun fact, some of the frocks on display were designed by Ms. Ross, and the whole camp drag-show was put together by her then lover, Berry Gordy.
This move is camptastic!
Really enjoyed this movie
LorellR6 September 2005
I took my Aunt to see a special screening of Billy Dee Williams new movie Constellation and we both we're crazy in love with the movie itself. I said I hadn't see black folks look glamorous until now and she rented Mahogony to watch with, because she said it was one of the few other films she could think of. She also had a big thing for Billy Dee.
I really enjoyed Mahogony, it's got that whole 70's vibe going on (well, it was the 70's). Anyway, I could relate to Diania Ross's character (I guess not a whole lot has changed) and Billy Dee was...BILLY DEE. I enjoyed the whole mood and ambiance.
I really enjoyed Mahogony, it's got that whole 70's vibe going on (well, it was the 70's). Anyway, I could relate to Diania Ross's character (I guess not a whole lot has changed) and Billy Dee was...BILLY DEE. I enjoyed the whole mood and ambiance.
love the music-fashions and the 70's.---but the movie/acting is terrible
bluetulip-8470328 June 2022
Every time this movie is shown, I watch it-because I love the soundtrack- the fashions- Marshall Field's Dept. Store and 1970's. However, the writing is trite and cornball- the acting is terrible and writing is predictable.
Camp classic of the 70s
mrcaw1218 May 2004
You've got to know when to take a movie seriously and when not to. This is definitely a film not to take seriously. You don't watch this movie for the plot you watch it for the 70s retro look. The over the top fashions, some designed by Diana Ross herself are hysterical and totally fun to check out. Anthony Perkins has never been better in this over the top performance of one very strange photographer who can't quite decide whether to make the moves on Diana Ross or her 70s superstar smooth as hot chocolate boyfriend Billy Dee Williams. And how about that hit single, Do You Know Where You're Going To being played throughout the movie? This movie plays like one long Carol Burnett show spoof. Funky, and fine and oh so 70s. You gotta check it out!
Wooden Mahogany
NutzieFagin12 October 2014
Warning: Spoilers
I remember this movie when it came out in the 70's....the main song "Do you know where you're going too..." was VERY popular. Did this movie make the same perfection...ehhhhh....Wellll....
Okay! the plot is one that has been done over and over in movie history. Tracy, a poor black girl from the Chicago projects dreams of being a super model fashionista designer who wows them in the four corners of Europe. Her super designs gain the attention of a high fashion photographer played by Anthony Perkins....I know I know..in the past there has been some gossip about Mr Perkins real sexuality but supposedly he is playing a heterosexual (he says)and he is VERY interested in Tracy. But Tracy has another admirer played by Billy Dee Williams who aspires to be a helpful Politian for his community. And I do remember Billy Dee was advertised as major dream cake during his period of fame.
But when Tracy receives an offer to go to Rome with Anthony Perkins and become a major super model known as Mahogany, she leaps at the chance even though she regrets leaving her boyfriend, Billy Dee behind. But both go to follow their dreams like a moth to a flame. Tracy's career takes off as a super model-her designs are somewhat excepted but it is her modeling as "Mahogany" that is successful. Anthony Perkins becomes obsessed and too controlling and Billy Dee's political career falls flat but he learns to accept and work with failure. It is here we have to ask that same question as they did in Broadway. "Will Success spoil Tracy Hunter?"
The acting is very wooden and campy. Diana may belt out a song--look beautiful in fashionable outfits but sorry, the girl is not the best actress. In most films, Anthony Perkins plays the psycho characters---here you will not be disappointed. And Billy Dee Williams is the male dream cake as always.
Much better movie than The Wiz, Diana Ross fans will love it. if you are also a fan of the chi chi high fashion model scene--you'll love this Valley of the Dolls type drama. So go enjoy this kitzy campy glossy film---it's good for a soap drama!
Okay! the plot is one that has been done over and over in movie history. Tracy, a poor black girl from the Chicago projects dreams of being a super model fashionista designer who wows them in the four corners of Europe. Her super designs gain the attention of a high fashion photographer played by Anthony Perkins....I know I know..in the past there has been some gossip about Mr Perkins real sexuality but supposedly he is playing a heterosexual (he says)and he is VERY interested in Tracy. But Tracy has another admirer played by Billy Dee Williams who aspires to be a helpful Politian for his community. And I do remember Billy Dee was advertised as major dream cake during his period of fame.
But when Tracy receives an offer to go to Rome with Anthony Perkins and become a major super model known as Mahogany, she leaps at the chance even though she regrets leaving her boyfriend, Billy Dee behind. But both go to follow their dreams like a moth to a flame. Tracy's career takes off as a super model-her designs are somewhat excepted but it is her modeling as "Mahogany" that is successful. Anthony Perkins becomes obsessed and too controlling and Billy Dee's political career falls flat but he learns to accept and work with failure. It is here we have to ask that same question as they did in Broadway. "Will Success spoil Tracy Hunter?"
The acting is very wooden and campy. Diana may belt out a song--look beautiful in fashionable outfits but sorry, the girl is not the best actress. In most films, Anthony Perkins plays the psycho characters---here you will not be disappointed. And Billy Dee Williams is the male dream cake as always.
Much better movie than The Wiz, Diana Ross fans will love it. if you are also a fan of the chi chi high fashion model scene--you'll love this Valley of the Dolls type drama. So go enjoy this kitzy campy glossy film---it's good for a soap drama!
Did Berry Gordy Know Where He Was Going To When He Directed This?
Sparky482 March 2012
Truly one of the most ridiculous and forgettable movies of the 70s' Blaxploitation film genre, and an utterly embarrassing effort on the part of Motown music mogul Berry Gordy to branch out into Hollywood movie directing. A love story so corny that when watching this today on TV, you can't help but to envision three small black silhouette figures at the bottom of your TV screen making wisecracks after each line of the dialogue has been spoken. In "Mahogany," a young woman has aspirations of becoming a successful fashion designer only to learn a life lesson from her wannbe politician boyfriend that success is meaningless without true romantic love (yeah, right).
Motown singing legend (and Gordy's onetime lover) Diana Ross stars in the title role as Tracy Chambers, a black woman from the slums of Chicago who's starving for success in the fashion design industry. After suffering repeated rejections of her fashion sketches in her hometown of Chicago, she finally gets her big break when a white fashion photographer extends an invitation to her to work with him as a model in Italy. Torn between her relationship with her boyfriend, along with his political ideals, and the golden opportunity of making a significant step in achieving her dream of becoming a successful fashion designer, she opts for the latter and abruptly departs for Rome.
Although a pop singing icon, as the movie's hit theme song ("Do You Know Where You're Going To?") will attest, Ross' acting abilities in this movie however leave a great deal to be desired. Although few would argue that the ostentation of the European fashion industry, the setting for most of this movie, is fitting for her real-life persona as that of the narcissistic Motown diva.
Anthony Perkins appears as a prominent but emotionally imbalanced fashion photographer named Sean who under the guise of being Tracy's mentor, and similar to another Italian benefactor that she encounters later in the movie, has lecherous ulterior motives up his sleeve. Obviously typecast in this role, stemming from his legendary performance as the deranged Norman Bates from Hitchcock's classic horror movie "Psycho" a decade-and-a-half before, he plays the movie's psychotic villain. His unrequited attraction for Tracy results in some very unpleasant and devastating consequences, making her start to realize that success in the European fashion industry ain't exactly all that it's cracked up to be.
Billy Dee Williams plays Brian, Tracy's altruistic boyfriend, who, with his own aspirations, has ambitions of becoming the alderman of the Chicago ward where Tracy herself resides. As the consummate movie matinée idol, and in somewhat of a reprise from the previous movie in which he co-starred with Ross, "Lady Sings the Blues," he does suffice in "Mahogany" as the handsome leading man. However, in scenes where he's embroiled in altercations with construction workers while conducting political campaigns in the streets of Chicago--and besting the roughnecks in street fights--are a tad "Hollywoodish" to say the least and far more humorously cheesy than action-packed.
But above all else, what makes the movie such an unadulterated piece of camp (or crap) is the ludicrous, naive theme it perpetuates—"Success is nothing without someone you love to share it with." In what was presumably meant to be the climax of this movie, and to the background of heavy sentimental orchestral music, Brain emphatically delivers this line to Tracy amid a heated lovers' quarrel. In the original version of the movie, and in Gordy's infinite wisdom as the movie's director, the asinine line was even captioned on the screen at the very end of the film, and also used as a tag line to promote it when it was first released back in the mid-70s. (However, modern-day TV editors have wisely omitted it from the screen at the film's end, presumably because of its inanity.)
Recently, this movie has been re-aired regularly on the newly established "Bounce" channel, a TV network that exclusively showcases black programs. (Unfortunately, many of the movies, like "Mahogany," are of B-grade.) However, time has done this movie a great deal of harm. Actually, "Mystery Science Theater 3000" would be a more fittingly venue for "Mahogany," as you could bet the house that the three fellas over there would have undoubtedly had a field day with such absurd cornball.
Motown singing legend (and Gordy's onetime lover) Diana Ross stars in the title role as Tracy Chambers, a black woman from the slums of Chicago who's starving for success in the fashion design industry. After suffering repeated rejections of her fashion sketches in her hometown of Chicago, she finally gets her big break when a white fashion photographer extends an invitation to her to work with him as a model in Italy. Torn between her relationship with her boyfriend, along with his political ideals, and the golden opportunity of making a significant step in achieving her dream of becoming a successful fashion designer, she opts for the latter and abruptly departs for Rome.
Although a pop singing icon, as the movie's hit theme song ("Do You Know Where You're Going To?") will attest, Ross' acting abilities in this movie however leave a great deal to be desired. Although few would argue that the ostentation of the European fashion industry, the setting for most of this movie, is fitting for her real-life persona as that of the narcissistic Motown diva.
Anthony Perkins appears as a prominent but emotionally imbalanced fashion photographer named Sean who under the guise of being Tracy's mentor, and similar to another Italian benefactor that she encounters later in the movie, has lecherous ulterior motives up his sleeve. Obviously typecast in this role, stemming from his legendary performance as the deranged Norman Bates from Hitchcock's classic horror movie "Psycho" a decade-and-a-half before, he plays the movie's psychotic villain. His unrequited attraction for Tracy results in some very unpleasant and devastating consequences, making her start to realize that success in the European fashion industry ain't exactly all that it's cracked up to be.
Billy Dee Williams plays Brian, Tracy's altruistic boyfriend, who, with his own aspirations, has ambitions of becoming the alderman of the Chicago ward where Tracy herself resides. As the consummate movie matinée idol, and in somewhat of a reprise from the previous movie in which he co-starred with Ross, "Lady Sings the Blues," he does suffice in "Mahogany" as the handsome leading man. However, in scenes where he's embroiled in altercations with construction workers while conducting political campaigns in the streets of Chicago--and besting the roughnecks in street fights--are a tad "Hollywoodish" to say the least and far more humorously cheesy than action-packed.
But above all else, what makes the movie such an unadulterated piece of camp (or crap) is the ludicrous, naive theme it perpetuates—"Success is nothing without someone you love to share it with." In what was presumably meant to be the climax of this movie, and to the background of heavy sentimental orchestral music, Brain emphatically delivers this line to Tracy amid a heated lovers' quarrel. In the original version of the movie, and in Gordy's infinite wisdom as the movie's director, the asinine line was even captioned on the screen at the very end of the film, and also used as a tag line to promote it when it was first released back in the mid-70s. (However, modern-day TV editors have wisely omitted it from the screen at the film's end, presumably because of its inanity.)
Recently, this movie has been re-aired regularly on the newly established "Bounce" channel, a TV network that exclusively showcases black programs. (Unfortunately, many of the movies, like "Mahogany," are of B-grade.) However, time has done this movie a great deal of harm. Actually, "Mystery Science Theater 3000" would be a more fittingly venue for "Mahogany," as you could bet the house that the three fellas over there would have undoubtedly had a field day with such absurd cornball.
"I'm a winner, baby!"
TJBNYC27 July 2001
In 1975, Diana Ross was just about the most famous black woman in the world. No other performer of color had ever reached her pinnacle of success and celebrity--not Josephine Baker, not Ella Fitzgerald, not Lena Horne. And so with "Mahogany," her second motion picture, Ross' mentor/lover (and, now, director) Berry Gordy fashioned an extravagant "hymn to how glorious it is to be Diana Ross", as reviewer Rex Reed put it. Not since the glory days of Joan Crawford's dewy-ewed close-ups had a star been so lovingly photographed; never considered a classic beauty, Diana Ross is astoundingly luscious in this film. Like all great screen divas, Ross is in nearly every scene, and when she's not, her presence still is. She plays Tracy Chambers, a spunky Chicago ghetto girl with her eye on becoming a great fashion designer. Tracy falls in love with Brian (Billy Dee Williams), an earnest politician, but his social conscience is at extreme odds with her desire for fame, fortune and the good life. Enter Sean (Tony Perkins), the world's most famous fashion photographer, who discovers Tracy, whisks her off to Rome, and prego! Mahogany, the supermodel, is born. (Sean calls Tracy "Mahogany," you see, because she is also "dark, beautiful, rich and rare.") When in Rome, Tracy/Mahogany indulges in la dolce vita, drips candlewax on her nude body at a Roman orgy, becomes the renowned fashion designer she always dreamed of becoming, and also becomes the kept woman of filthy rich Jean-Pierre Aumont...but, she soon learns, "Success is nothing without someone you love to share it with." If you haven't already guessed, despite the chic Roman locales, there's more corn here than in the state of Kansas. However, Diana Ross simply dominates the screen; it's a shame and a sin that her acting career never fulfilled its promise (due in large part to the mostly negative reviews "Mahogany" initially received), because she's precisely the larger-than-life, iconic figure that Hollywood's been lacking for so long. She's a natural and incredibly likable actress--all the more remarkable, considering her "difficult" off-screen reputation. Having said that, "Mahogany" IS best viewed as camp--the cornball dialogue, outrageous costumes (designed by Diana herself) and over-the-top performances ensure its cult status. But there is a degree of art here, and it lies squarely on the dark, beautiful, rich, rare shoulders of Miss Diana Ross.
People Who Say It's Trashy Obviously Haven't Been Around Rich, Pretty People
bkkaz26 June 2022
Here's the thing -- if you watch the movie having never interacted with these sorts of people, you think it's a joke, campy. But the shallow childishness and materialism is right on target. So is the sense of entitlement simply for being considered attractive. Now, take that junior high school maturity and throw a lot of money at it in the big city, and you get Mahogany. The movie at least has the good sense to show the struggle for minorities is different than for Whites.
All that said, I never thought bony, bug-eyed Diana Ross was all that attractive, but she's a good enough actress to pull it off. Billy Dee Williams is his usual smooth self. The 70s was a different era, where Black actors in particular started to finally get more roles than domestics, prostitutes, the occasional teacher or scientist, and ambassadors from some made-up African country. It's sad that by the 80s and 90s, roles like these had dried up, relegated to the modern versions of fast-talking clowns as evinced by Eddie Murphy and Will Smith.
Now, is the movie over-the-top? At times, sure. But it's no more silly than Peyton Place or the VIPs, and it's a lot less campy than Valley of the Dolls. At times, it captures the youthful spirit of adventure and ambition, and the sequence when Tracy arrives in Rome is a cliched montage that nonetheless is able to show us new images of old architecture. Yes, the story unfolds as a soap opera, but again, if you know people like this, that's how they choose to live their life. Most get used up and burnt out quick, but that rarely teaches them anything useful. They're caught up in a kind of fantasy that sometimes pays off.
All that said, I never thought bony, bug-eyed Diana Ross was all that attractive, but she's a good enough actress to pull it off. Billy Dee Williams is his usual smooth self. The 70s was a different era, where Black actors in particular started to finally get more roles than domestics, prostitutes, the occasional teacher or scientist, and ambassadors from some made-up African country. It's sad that by the 80s and 90s, roles like these had dried up, relegated to the modern versions of fast-talking clowns as evinced by Eddie Murphy and Will Smith.
Now, is the movie over-the-top? At times, sure. But it's no more silly than Peyton Place or the VIPs, and it's a lot less campy than Valley of the Dolls. At times, it captures the youthful spirit of adventure and ambition, and the sequence when Tracy arrives in Rome is a cliched montage that nonetheless is able to show us new images of old architecture. Yes, the story unfolds as a soap opera, but again, if you know people like this, that's how they choose to live their life. Most get used up and burnt out quick, but that rarely teaches them anything useful. They're caught up in a kind of fantasy that sometimes pays off.
For true Diana lovers
PeachesIR21 February 2021
I'm a huge Diana Ross fan in all her diva glamour, beauty and talent, so I really enjoyed "Mahogany," even though it's a dated, somewhat campy movie when viewed nowadays. This movie is pure '70s! Diana plays Tracy, a gorgeous, ambitious, aspiring fashion designer stuck in drab Chicago. She develops a romance with Brian (Billy Dee Williams at the height of his charming hunk fame), a local politician, but when she meets Sean, a stark raving mad, famous fashion photographer, he recruits her to start a new career as an international model in Europe. Tracy must figure out what price she's willing to play to pursue her personal dreams and happiness.
"Mahogany" is sexy, glamorous, not very deep, and shows some of the sexism and racism of the fashion world of the time. It's a showcase extraordinaire for Ross, who is feisty, passionate, chic and glamorous, qualities in very short supply these days. She is so much more interesting than most of today's bland actors. A true star. The fashion shoot montages ooze glamour and sexiness, so if the script is a bit shallow and predictable, who cares? Enjoy Diana Ross schooling everyone on how to be fabulous.
"Mahogany" is sexy, glamorous, not very deep, and shows some of the sexism and racism of the fashion world of the time. It's a showcase extraordinaire for Ross, who is feisty, passionate, chic and glamorous, qualities in very short supply these days. She is so much more interesting than most of today's bland actors. A true star. The fashion shoot montages ooze glamour and sexiness, so if the script is a bit shallow and predictable, who cares? Enjoy Diana Ross schooling everyone on how to be fabulous.
It's A Vanity Project With Some Camp Value--and Norman Bates, Too!
museumofdave5 March 2013
This is a fashion immersion, a star-promoting vehicle, rather like watching snakes at the zoo: fascinating but deadly. I didn't actively dislike it, and I did watch it all the way through. Mahogany is totally rooted in it's time, and in many ways--script, acting, music--it's fairly dreadful. Diana Ross, who has accomplished much of value in her lifetime, probably would rather erase this tacky romance from her resume, but there you are. And if you're reading this review, you are halfway to being trapped.
The Big Question is: should Diana choose her aging lover in Paris, including the promise of fashion immortality and unimaginable riches--or should she fly back to Chicago for the love of a good man and cook his dinner on a regular basis? After all, it is Billy Dee Williams. And Tony Perkins is around too,, probably strung out on something dangerous, making the film a few years after Psycho, still cruising on Norman Bates, so there's the added attraction of watching his shifty eyes never know quite where to land. This is one of those films that might be defined as one "for a very special kind of audience." I do believe it lacks general appeal.
The Big Question is: should Diana choose her aging lover in Paris, including the promise of fashion immortality and unimaginable riches--or should she fly back to Chicago for the love of a good man and cook his dinner on a regular basis? After all, it is Billy Dee Williams. And Tony Perkins is around too,, probably strung out on something dangerous, making the film a few years after Psycho, still cruising on Norman Bates, so there's the added attraction of watching his shifty eyes never know quite where to land. This is one of those films that might be defined as one "for a very special kind of audience." I do believe it lacks general appeal.
Hysterical
Boyo-24 October 1999
Warning: Spoilers
This movie belongs on a Bad Movie List, but if you are in the mood for that, this should fill the quota, and then some..
It is a throwback to Susan Hayward movies, more than anything, and Diana Ross is adequate. At times she is way over the top, but then again, the supporting cast, from Nina Foch and Beah Richards, to Jean-Pierre Aumont, is wooden, so she may have felt she had to over-compensate. No one comes near Anthony Perkins for out and out overacting. The scene in which he goes berserk - they are in a car together and he's driving like 700 miles per hour - and to distract him all she can think to say is "TAKE MY PICTURE! TAKE MY PICTURE!" Yeah, like that's a good idea, while this maniac is behind the wheel!
Billy Dee Williams is along as The Man in Her Life, and he certainly fits the bill. The most hysterical thing is the fashion show, and guess who designed the costumes? Yes, Diana herself, but she wisely did not quit her day job.
I do love this movie, for every single reason listed above. It appeals to a certain side of me.
It is a throwback to Susan Hayward movies, more than anything, and Diana Ross is adequate. At times she is way over the top, but then again, the supporting cast, from Nina Foch and Beah Richards, to Jean-Pierre Aumont, is wooden, so she may have felt she had to over-compensate. No one comes near Anthony Perkins for out and out overacting. The scene in which he goes berserk - they are in a car together and he's driving like 700 miles per hour - and to distract him all she can think to say is "TAKE MY PICTURE! TAKE MY PICTURE!" Yeah, like that's a good idea, while this maniac is behind the wheel!
Billy Dee Williams is along as The Man in Her Life, and he certainly fits the bill. The most hysterical thing is the fashion show, and guess who designed the costumes? Yes, Diana herself, but she wisely did not quit her day job.
I do love this movie, for every single reason listed above. It appeals to a certain side of me.
I always wondered why this rated so poorly...
thomas196x200013 July 2022
I finally sat down and saw it. The title song is one of my favorites, and it seemed like an interesting mix of characters. But I was sorry to see that it was simply a bad movie.
Ross could not act her way out of a paper bag. Although Perkins is not bad in his role, you've seen him like this before, and his handling of photographic equipment is untrained and just awful. You cannot buy it. Frankly, he is doing schtick like someone might do in a black comedy. Evidently no one told Perkins it was NOT a black comedy.
Dee Williams comes off OK but that's about it. There are so many stagey and cringe-worth scenes. The gun scene. The preposterous car crash. Perkins shooting Ross an inch from his lens but somehow all the pictures come out perfectly in focus. When she gets angry, she shrieks like a teen-ager.
The direction is poor, likely because Gordy took it over and didn't know what he was doing.
The sad thing is, you want to like this film. Fashion, ego, controlling people, at the least it should have been a good soap opera or enjoyable melodrama. But no, it is badly constructed and executed, and a forgettable film.
Ross could not act her way out of a paper bag. Although Perkins is not bad in his role, you've seen him like this before, and his handling of photographic equipment is untrained and just awful. You cannot buy it. Frankly, he is doing schtick like someone might do in a black comedy. Evidently no one told Perkins it was NOT a black comedy.
Dee Williams comes off OK but that's about it. There are so many stagey and cringe-worth scenes. The gun scene. The preposterous car crash. Perkins shooting Ross an inch from his lens but somehow all the pictures come out perfectly in focus. When she gets angry, she shrieks like a teen-ager.
The direction is poor, likely because Gordy took it over and didn't know what he was doing.
The sad thing is, you want to like this film. Fashion, ego, controlling people, at the least it should have been a good soap opera or enjoyable melodrama. But no, it is badly constructed and executed, and a forgettable film.
Mahogany is better than I thought it would be.
dbnipper27 August 2001
Mahogany isn't nearly as bad as I had been led to believe. Though it isn't a great movie, it is worth watching at least once if only for the scenery. The fact that Diana Ross never looked more beautiful certainly makes the movie a bit more palatable.
one hit song
SnoopyStyle26 June 2022
Tracy Chambers (Diana Ross) is the assistant to a department store manager coming from the slums of Chicago's south side. She aspires to be a fashion designer. Brian (Billy Dee Williams) is a community organizer fighting the man. Sean (Anthony Perkins) is an arrogant photographer.
The music has the one smash hit. I was invested in her as a designer. I started to lose interest after she becomes a model for Sean. Leaving Chicago is also a problem. The city became a character in the movie. I don't care if Rome looks exotic. It's missing the point. The audience wants her struggles which would make triumph that much sweeter. I don't like Sean. I don't buy Diana Ross as a supermodel. The movie's promising start deteriorates. After an hour, the movie loses its drive. I stop caring about these characters. The song is iconic but I can't give the movie any extra points. It's not a musical.
The music has the one smash hit. I was invested in her as a designer. I started to lose interest after she becomes a model for Sean. Leaving Chicago is also a problem. The city became a character in the movie. I don't care if Rome looks exotic. It's missing the point. The audience wants her struggles which would make triumph that much sweeter. I don't like Sean. I don't buy Diana Ross as a supermodel. The movie's promising start deteriorates. After an hour, the movie loses its drive. I stop caring about these characters. The song is iconic but I can't give the movie any extra points. It's not a musical.
You know where it's going to
Vince-517 December 2001
This slick but predictable tale of fashion-world fame resembles, by turns, a diluted version of Valley of the Dolls. Only in this valley, the only doll is black beauty Diana Ross, piloting the whole vanity vehicle like a Sherman tank. She plays Tracy Chambers, a gorgeous secretary from the mean streets of Chicago who finds fame and fortune (but alas--poignant sniffle--not happiness) as Europe's top model/designer, Mahogany ("Meeeee! Mahogany!"). As her lovely theme song flows from the soundtrack, Ms. Ross throws a tantrum in a fountain (which ends up on a Revlon billboard); does a wax-covered striptease; and wears a number of eye-popping, often hideous fashions that she designed herself, including a Sea Monkey costume and a sugar glider made out of pantyhose. But ultimately, what she really wants is love--as does every woman is this sort of film since the invention of the movie camera.
Limp though it may be, there is some enjoyment to be had for camp devotees. The photography and music are breathtaking. The cast looks great; the acting is okay, considering that everyone is forced to mouth silly, soapy dialogue about love and selfishness. There are a fair number of unintentional laughs, too, but by the end, you just won't care anymore. Really, Mahogany is about audience gratification. Basically, the film tells us that success is "Nothing But Heartaches" (to quote Diana--sorry, couldn't resist), so you may as well stay home and clean the oven. And if you believe that idiocy, I've got some prime Florida realty to sell you.
Limp though it may be, there is some enjoyment to be had for camp devotees. The photography and music are breathtaking. The cast looks great; the acting is okay, considering that everyone is forced to mouth silly, soapy dialogue about love and selfishness. There are a fair number of unintentional laughs, too, but by the end, you just won't care anymore. Really, Mahogany is about audience gratification. Basically, the film tells us that success is "Nothing But Heartaches" (to quote Diana--sorry, couldn't resist), so you may as well stay home and clean the oven. And if you believe that idiocy, I've got some prime Florida realty to sell you.
Not terrible but not great either
idave9 July 2023
A rags to riches story of a young woman from the Chigago projects who longs to become a fashion designer who has an on and off again relationship with a political activist boyfriend who doesn't do much to encourage her aspirations. Through an encounter with a fashion photographer in the department store she works with she ends up in Rome as a model.
It has many of the tropes of when it was made: that if a woman succeeds it has to be a Pyrrhic victory, that the success of her man should be put above her own without considering that it might be possible for both to succeed in their respective interests.
The ending is unclear. Is she giving up her dreams to be with her man? It doesn't seem to present the possibility of a bright future that the makers intend.
Ultimately this story comes off as kind of standard for the era - watchable but not memorable. It seems more of a vanity project for its star, Diana Ross, than something made for the audience.
It has many of the tropes of when it was made: that if a woman succeeds it has to be a Pyrrhic victory, that the success of her man should be put above her own without considering that it might be possible for both to succeed in their respective interests.
The ending is unclear. Is she giving up her dreams to be with her man? It doesn't seem to present the possibility of a bright future that the makers intend.
Ultimately this story comes off as kind of standard for the era - watchable but not memorable. It seems more of a vanity project for its star, Diana Ross, than something made for the audience.
Coming of Age
ruthelisejohnson11 December 2004
This is a coming of age film. Black films of that era focused on topics that involved the very worst of the Black community. This was one of the first films of the 70's that championed self-improvement and empowerment.
Gordy successfully attempts to move beyond "Blackplotation" films of that time. In doing so, the film genre and the community it describes is what comes of age.
If you listen to the dialog Williams and Ross had as they walked through the shelled out community and then walked those same contrived, multi-million dollar Townhome/condo communities today you will have a much greater appreciation for this forward thinking, insightful film, Mahogany.
Gordy successfully attempts to move beyond "Blackplotation" films of that time. In doing so, the film genre and the community it describes is what comes of age.
If you listen to the dialog Williams and Ross had as they walked through the shelled out community and then walked those same contrived, multi-million dollar Townhome/condo communities today you will have a much greater appreciation for this forward thinking, insightful film, Mahogany.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
