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Riverbend Resurrected: The Lost 35mm Premiere · Cinema Yūgen

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G'day. That's right, it's that time again. Time for Cinema Yugen!
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Yes, welcome back! Cinema Yugen Riverbent, the American Cinematique,
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presents the long-awaited Los Angeles premiere of Riverbed from 1989,
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screening from a pristine, never-before-projected 35mm print discovered in Amazon's MGM vaults.
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The long unavailable, except in former worn VHS tapes,
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this bold, action-driven drama is about three black Vietnam soldiers leading
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a southern town in a rise against a racist sheriff and has been virtually unseen for 35 years.
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This one-night-only event marks a milestone in the film's ongoing restoration
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by Real Black Renaissance.
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A Philadelphia-based boutique distributor dedicated to preserving and re-releasing looked black cinema.
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The full 6K restoration is underway
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with a theatrical and Blu-ray released planned for early next year.
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Now, a technical difficulty kept the beautiful and vivacious Margaret Avery,
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Oscar nominee, from joining us on the show, but the sky is still so full of stars.
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So, Yugenites, please welcome Julius Tennant, Alex Morris, The godfather of
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ninja movies, Sam Furstenberg, and the man behind all of this series.
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Great stuff regarding Riverbend. Michael J. Dennis.
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Gentlemen, g'day all, and welcome to Cinema Yougidon. Good afternoon.
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Good afternoon to you too.
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Hey, it's Mike. Hey. October 14th, Tuesday, October 14th, 7.30pm at the Aero
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Theatre in Santa Monica.
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It and everyone's going to get to see this wonderful film finally in its best most beautiful.
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Version what will it be like gentlemen going around the table to uh to sit together
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and watch this film after so many years i'll start i'll let sam sam you start
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off you're the director you tell us how you feel thank you thank you very much
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number one kent we are so happy to be here with you and all your viewers.
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Thank you for joining us, and thank you for listening to this.
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As you know, very shortly, this movie was produced and made,
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the movie Riverbend, was made 35 years ago.
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It's a controversial, it's a racial discrimination type of a movie, not your,
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regular type of a movie.
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And what happened, it was privately produced, not by a company,
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but rather by private money.
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It was a vision of the writer, Sam Vance. It was his vision.
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All of us, we executed his vision of a story, of a certain story,
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which is quite controversial, the story.
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But what happened, because it was privately produced, the movie vanished at
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some point for many industrial reasons, the film industry.
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The movie vanished and disappeared for 35 years.
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And it existed only here and there on few VHS, very poor visual quality.
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And until three years ago, entered the picture of Mr.
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Michael Dennis from the organization Black Real, and he's an avid,
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avid collector of black cinema and preserver of black cinema.
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Really, he invests a lot in this hobby of his, let's call it.
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And it took about three years of all kinds of investigative work,
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and he found, eventually, he found the original material.
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It was not easy to find the original negative. The movie really vanished, disappeared.
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It became what is called an orphan movie. But Michael found it, found the negative.
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And along with the negative, we found two untouched 35-millimeter prints that
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have never been screened before.
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We already, Michael and me, went to some festivals, but not with this original,
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beautiful, vivid color print.
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And now the American Cinematheque agreed to host us and to have a nice West
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Coast premiere. The movie never played in the West Coast.
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It played in the East Coast, never played in the West Coast.
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So we are going to have...
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Delated, premiered 35 years later, and the actors will be there.
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Sadly enough, the star of the movie, Steve James, passed away,
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but his daughter will be there.
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And Margaret Avery, Alex, Julius.
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I will be there. It's going to be very exciting screening, good quality.
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And I just want to add one word, because we already seen the movie, Michael and Me.
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Through the years especially because
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what happened in the last three years four years the
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movie has an added element added value because of the thing that happened from
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a racial point of view from uh the advance of if we might say so you all know
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black life matter they found the police, all those elements that came in,
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the movie suddenly has an added element,
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added value that will be exciting to everybody.
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So we are excited about this screening.
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And Sam, do you think that the racial element, Sam, is what kept it from a wide release back then?
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We suspect, I cannot, you know, I don't have proofs.
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This is a small movie, small independent movie, and suddenly it was bought by Paramount.
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So this huge big distribution company why do they bother to buy such a small
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movie because at the same time they had mississippi burning.
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And it's non-practice in hollywood it
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is called to buy to bury or
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buy to bury some companies in the history
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of hollywood if you look in the history of hollywood it happened
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a few times that a big company will buy a
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movie and in order not to compete on another movie
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that they have a bigger movie they would bury it so i
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suspect so i cannot i don't know because they
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had mississippi burning it's kind of the same subject
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more or less they bought the movie except except
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your film's a little bit sort of first blood meets mississippi burning because
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you've got the uh the returning vietnam veterans in uh in in julius and uh alex
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and i have to say fellas the way that you get out of that car at the start was pretty ingenious.
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You know, when he, uh, he turns to old mate and he says, how about a cigarette
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for one of my brothers? Yeah.
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And he used the cigarette to start a fire. And that's, that's really ingenious.
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I've never seen guys get out of a situation by setting the back of the car on fire.
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I'm not even sure if anything ever smoked. I didn't smoke. Did you smoke Julius?
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No, not. I don't smoke now. I know. That's what I'm saying. No, you smoke. Yeah.
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So how cool was, you know, Steve James always insisted on very clean image,
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so he didn't want to smoke.
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He wanted to pass it off. He passed it. He put it on Julius.
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He put it on me. He put it on Julius. I started the damn fire. Yeah.
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So how cool was Steve James in real life? You know what? Steve was amazing,
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man. Let me tell you something.
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You're talking about a great, a talented brother.
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But also a great human being, man. You couldn't find a better person, man.
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I mean, this guy was top notch.
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And the way he treated Alex and I and Alex to speak what he's going to speak,
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but we had nothing but utmost respect for him.
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And he had the same for us. And even though he was a star of the movie,
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he felt like our contribution was so important to the movie.
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And, you know, for me and Alex, both, it was our first big, even though it was
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an independent, Sam, it was our first big movie.
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And we were in Texas. We hadn't moved to California.
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And so this was my breakout and Alex as well for both of us.
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And then to work with Steve James and to have the humanity of who he was and
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what he stood for, man, it was amazing. Yeah.
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I echo Julia's sentiments 100 percent.
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Steve was, I think, was a very underrated actor.
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I think a lot of people thought of him a lot as the action hero, the superhero type.
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But he was actually a very careful, detailed, and very well thought out actor.
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We dubbed ourselves the Three Stooges. Steve was Moe, I was Larry, Julius was Curly.
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That's right. And that was— Because he loved the Three Stooges.
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He did. He was a big Three Stooges fan. And so we dubbed ourselves that.
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And that whole experience, like Julius said, was our breakout moment.
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We were both so new and so green. That's right. But we were so happy to just
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be there, to be a part of it.
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We had no idea it would become what it's become.
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We were just enjoying the work, enjoying being with each other.
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I mean, we became really fast and close friends.
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Julius and I have been friends now for, heck, as long as the movies,
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all those years later. Yeah, yeah.
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And then we loved working with Sam. Sam was great. I mean, we were guys from Texas.
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Right. And Steve, where, you know, Hollywood people had done all this work and stuff.
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Alex and I had worked a lot in
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Texas. We were kind of the up-and-comer big dogs in Texas. Right, right.
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Because Alex, she started off in theater. I mean, it was great working with
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Sam and everybody, and it was a learning.
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I mean, I think we did a really great job, but I think if I look,
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when I look back, I think there's some things that Alex and I probably look
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at and we say we could have done better.
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But it's still, the movie came off great, and Steve was extremely,
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extremely proud of this movie, extremely proud of everybody that was in the movie.
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Yeah, he was great. Do you think if this film had a proper release back in the
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day that it would have propelled Steve James a little bit because this was like
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his first? Oh, definitely.
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I'm for sure for him, and it would have propelled Alex and I, too, into Hollywood.
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Because people would have said, who are these two guys? Who are these two guys?
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These are the guys that are coming through. You know, I think it could have done a lot.
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And Steve always spoke to that. He said, you know, if a lot more people had
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seen this movie, it would have done a lot for all of us.
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Steve was a beautiful brother I
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can't emphasize that enough Not only
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was he a good actor But he was
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a good human being I think he had the respect and admiration Of everybody on
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set I think that's why the scenes With us being introduced to the men As their
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commanders came off so realistically Because Steve was that guy He really was the leader of that group,
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So that would have helped that he started off as a stuntman.
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Yeah, yeah, yeah. With all the choreographing and the fights and all that.
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You know, guys, I would like to add something.
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Steve James. I was close to Steve James because we made four movies together. Right.
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And Steve James was, number one, an avid collector of black cinema.
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Besides being an actor, in his house, he had about 1,000 copies at the time, VHS cassettes.
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Of only black cinema starting from the silent era.
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Either black director, black stars, you know, that subject.
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And he was very involved in this whole subject of promoting,
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preserving black cinema was very important to him.
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And that's why he was so proud about this part, because one of his complaints,
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and everybody complains, in black cinema, and especially in action, And it's always,
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you know, the white guys who come and save the black. Yeah, that's right.
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And, and, and by the way, I worked with Richard Rountree one time,
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not as an act as assistant director years back.
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So Steve wanted to be the next shaft. This was really, he wanted to be a proud,
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proud black action American hero.
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He really was a precursor to like. But that's why this movie,
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suddenly Riverbend, where everything was conducted in the hand of black characters,
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that's why he was so proud about this movie. And that's why it was so important to him.
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He really was a precursor to Wesley Snipes, wasn't he?
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Yes. What Wesley Snipes would become, that was really what Steve James might
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have become had his life not been, you know, cuts short.
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So I was reading somewhere that Sidney Poitier was one of the,
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read one of the eulogies. He did. I was at that service.
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I was at the service when Sidney, because he knew Steve really, really well.
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Yeah. And I got to meet him for the first time. I mean, obviously,
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for all of us, Sidney has meant everything to any black actor. They call me Mr.
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Chibbs. That's right, man. I tell you, you're talking about a human being.
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That's another one, man. That's a real human being, man.
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What an incredible damn talent, but, man, what a great person.
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One of the greatest days in my life was when Viola did the help in 2010,
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and he and gang Puck met us when we got out to the—we drove up to the restaurant,
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and there was the great Sidney Poitier and Wolfgang Puck. I mean, what?
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And I had already met him because I had met him at Steve's service. Yeah.
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I met him there. And he was measured and he was great and he loved Steve. He did.
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He really loved Steve. And Steve used to speak highly of him.
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Yeah. It's pretty monumental. Yeah. But this film, I think,
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as Sam was saying earlier, has a lot
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of different meanings and a lot more relevance today because a lot of the things
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and a lot of the terrible and virile hatred that exists in the heart of this
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movie is still prevalent today.
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Today like that unfortunately the world
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hasn't moved on no very much no
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it hasn't that's true i mean we're in
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the states we've kind of gotten numb to seeing those kind
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of images attacks on black bodies but i i can tell you for a fact you know when
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sam and i first brought riverbent to denton texas and later to boston massachusetts
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and gary indiana the film really resonates with the audience because they say, wow,
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you know, this, this is a movie that was made in 1989 set in 1966.
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It is still relevant to what I'm watching on my social media today.
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Yeah. You know, so I have to applaud, you know, Sam and Valerie Vance and Troy
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and Regina Dale for having the guts to put money behind this idea and make this movie so that we can,
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we can have a conversation still. Yeah.
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Is that Martin Luther King has been brought up quite a bit during the recent unpleasantness.
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And it struck me when I was writing my review. There is a line about Martin
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Luther King in the movie. Yeah.
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When I was writing my review for coming soon to filmthreat.com,
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I put in part of his speech that I have a dream that one day on the red hills
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of Georgia, the sons of former slaves and the sons of former slave owners will
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sit down together at the table of brotherhood.
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I think we're still waiting for that dream, yeah?
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Yeah, I think so. Listen, you
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know, I mean, the animus and what America always has been is what it is.
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And in spite of that, we've still kind of pushed through all of those different
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barriers, all the things that have happened.
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We've always just kind of found a way to keep moving forward in spite of.
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And so as much as things have changed, they really haven't changed.
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I mean, You know, you still have lynchings in certain parts of the South,
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the deep South and things like that in rural America here and there.
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So a lot of that stuff still persists.
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It's just a bit different now. And it's not as outrageous as it was.
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It's more now in suits and business suites and different like that that you
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have to kind of navigate.
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Because, you know, now I'm a producer myself here in Hollywood.
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And, you know, and oftentimes I'm in rooms and I'm, I'm the only dude in there, man.
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It ain't no other, it ain't no other. It's not a lot of us.
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It's still some, but there's not a lot of us. And then you still have to deal
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with certain kinds of, you still have to deal with things, even though I'm there,
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whatever, I'm with a group and I'm with my white counterparts and it's great and all that.
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We're trying to get things done, but the battle is still a battle.
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And, you know, so, you know, but we just kind of have to keep pushing through when we have.
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I think that's why this movie resonates now, because it's an example of people
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standing up for themselves who finally say enough is enough.
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And they take control of their situation rather than allowing the situation to control them.
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And I think that's this movie exemplifies that idea.
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And uh it's something that seeing it
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back again seeing it at this time gives me a
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sense of of pride of of of a sense
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of resilience we can stand up like like julius was saying sometimes he's the
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only dude in there but he is the dude that's pushing the the the thing up to
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heel he is pushing it forward and and this movie represents these types of people
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that collectively are trying it to, to push it forward.
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Yeah. Because I mean, that's, um, there's a real terror that like the, the
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probably one of the most beautiful moments is that the
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scene at the end when you've got all the whites on one line
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and you've got all the colored people on the other side and
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that's you know it's it's it and then
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of course they they kiss in the middle and the pop song comes
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in like it's a nice way to cap off a movie but it's it's
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still you know it it's still
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far far from reality where you know
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we can stand together and shake hands and just look
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at each other as human beings you know it's it's
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interesting this was the vision of the writer of course we
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are the interpreters our job was to
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interpret his story we did not write the story and this
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gentleman sam vans the story
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is the movie his script is based a little bit now i know more about it he's
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based a little bit on his childhood in the south he was a child in the south
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i think he's from alabama i don't remember but his childhood in this so it's
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based on it But his vision was not hateful.
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He was not, his message was always, this is not about revenge.
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We are not going to make a movie about revenge.
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We are going to make a movie about forgiveness.
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Right, right. He was a special character. I don't know how to describe it. He was such a character.
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And he was in Vietnam and he came back from Vietnam and then he wrote the script.
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But this was his vision yes, life was not pleasant for minorities in the south,
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but I don't want to write a story about revenge, I want to write a story about forgiveness.
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And you know, he did a beautiful job with it, because you know,
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my character was one I mean, I wasn't from the south, I was from north.
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Chicago. I didn't really want it, you know, because I have one line,
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I'm supposed to take a bunch of country, backwood niggers and soldiers in what?
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So you can put a medal to your chest? No way. I'm out of here, man.
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You know, Tony was like, this motherfucker was like, he had to, he had to round him in.
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And then Alex's character, Alex was on the side of him and trying to always calm my ass. Right.
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You two guys were like the yin and yin on opposite sides of him. Exactly. Exactly.
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I mean, even though we were a trio, I was always the one kind of pulling away.
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Alex would try to help me as Steve was always admonishing me. Right.
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Julie, she got shot coming out the bank, mate, trying to get away with the money.
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Hey, hey, hey. Spoiler alert. Spoiler alert.
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Spoiler alert. But that's right.
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But it was nice that within the script, you have all kind of this kind of different
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point of views. That's right.
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The guy who came from Chicago, your character, that's right
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character was supposed that he's from the west from let's say
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it was it was interesting that his plan was to bring the media in
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like his whole purpose for taking the taking
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the town was to bring the media spotlight exactly onto the town it's funny today
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that we live in an age where you know everyone's got you know at least if they
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got their phone with them they're you know you know whenever there's a disaster
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or something someone pulls out their phone and they're filming it you You know
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what I mean? Exactly. It's a different world.
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But I think that's the thing. That's the thing, too, Ken, I think that's resonating
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with people when they're seeing the film is that all those things we're talking
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about, the media now is different because if people had phones,
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they could be doing that.
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But the fact that we're talking about bringing the media to bring attention
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to the atrocity of this racism that was going on in this small town,
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people can get with that.
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And I think that's what's making people resonate so much with the film.
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Yeah. Yeah. I mean, I mean, now everybody has a camera back in 1989.
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Right. We didn't have cameras. Sam had a camera. Right. And. Yeah.
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Sam Vance had a choice to tell a story specifically of something he witnessed
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in his own life, being a Purple Heart veteran and all this other stuff.
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But that's what blows people's minds. It's like, wow, this has been happening on and on and on and on.
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We just weren't documenting it. And this movie was hidden.
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No spoiler, but this movie has quite a twist, two-thirds into it.
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So we are not going to reveal it. We won't spoil it.
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But this is, Riverbend is also getting a, Michael is also getting a physical media release too.
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Yeah. Well, we pushed the date because it was originally going to be February,
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2026. We're moving it to Juneteenth.
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Oh, that's nice. June 19th is going to be the official release date. Oh, nice.
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For Riverbend on Blu-ray and we'll be starting to take pre-orders at riverbendrestored.com. Cool.
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By the time people get a chance to see this, they'll be able to place a pre-order.
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I'll get a link off you, and we'll whack that in the description of the show.
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But right now, you can get merch, like mugs, hats, T-shirts,
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things like that, and then the Blu-ray will be available. You can put your money down. We need it.
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But June 19th, 2026, Riverbend. Oh, that's amazing. That's beautiful.
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And aside from the film, Michael, is it going to have any other Oh,
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we're going to We'd love to come to Australia and show it Wow, yeah.
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The restoration is beautiful Shout out to Austin Squattery,
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He did an amazing job with the transfers and the dust removal, supervised by Sam.
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It's never looked this good. It's never sounded this good. It's impeccable.
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And we want to take it everywhere. So, yes, there'll be a theatrical window,
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followed by the DVD release in June. And then we'll continue to show it wherever
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people want to see it in public, because I think it's really important to do that.
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Yeah, definitely. Yeah, bring it down under. it's um
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yeah you know guys what we have discovered since
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we are busy with it already three years there are legions of
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steve james fans all over the world mainly
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because of his action movies you know that's right really followers
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and because he passed away so everything together and and they will be thrilled
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because of this for this blu-ray and then we have to reach other other type
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of audiences of course we have to spread the word about this movie but we already
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have a very good base of fans who are really waiting,
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eagerly waiting for this because they're Steve James fans, let's call it. Yeah, that's great.
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Tickets are selling fast at the Arrow Theater, the LA premiere,
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October 14th. It's a Tuesday night.
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Yeah, and it's a one-of-a-kind night.
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So if you can make it, please get your tickets and come. All the stars will be here.
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Yeah, if you can't make it, we'll be live streaming on my YouTube channel, the Q&A.
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Sweet ass yeah but i
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can't mention one more thing ken you're right
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not subject really you
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know i i was involved in many movies directing mainly action about 25 movies
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main most of them are action movies and in action movies the acting is not the
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important part the action the acting in this movie every time i watch the movie
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throws me back on the chair there is some good.
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Good acting in this movie i'm telling you guys will see it on the 14th on a week everybody,
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even the bad guys effective with the years 35 years the acting in this movie is amazing,
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top top top notch you will see you guys will see it on the yeah well i'm just
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i don't take away your interview but i'm just curious like what was i mean margaret
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was supposed to join us i mean she's an oscar nominee what was she like on the
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set oh man margaret was golly man it was It's great to be with Margaret Avery.
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I mean, I was like, wow, Margaret Avery is in this movie.
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And Margaret is such a talent, such a force, and beautiful.
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Oh, gosh. It is. I've seen Margaret over different periods of time around at the Roby Theater in L.A.
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As such. And she knows my wife really, really well, Viola.
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But Margaret, it was amazing to work with her.
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And to be around her when we were shooting this film. And obviously,
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ultimate professional.
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And, you know, and she did a great job in this movie.
28:00
And so, pleasure. That scene when the girl comes into a house and she holds
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him with the shotgun is pretty powerful. Yeah.
28:09
She was great. I think we all had a crush on her when she arrived.
28:12
We did. I mean, she was so beautiful. We didn't tell her.
28:15
You know, we didn't tell her. But I think we all did. And I have had the great
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honor of being on stage with Margaret.
28:22
So being on stage with her, as well as being able to be in Riverbend.
28:26
This was after Riverbend that we did No Place to Be Somebody on stage here in L.A.
28:32
And, man, she's just, she's a chameleon.
28:35
I mean, she could transform into any character.
28:40
She just had that gift, that rare gift. She could turn it on and turn it off.
28:44
And I'm telling you, being around her, Steve, and then Julius,
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and I was so green. I mean, I was green like AstroTurf.
28:53
I was so green. It was just a thrill.
28:56
Alex, you guys remember also Tony, the sheriff. Yes.
29:00
He played the evil character. Tony, he was so green.
29:05
Is Tony still here? Is he gone? No, he's gone. He passed on. He's gone.
29:09
He was Sheriff J. Oh, he was.
29:14
He was. He was. He helped fuel us just by his nastiness. Yeah. So nasty.
29:22
But he wasn't like that off camera. He was not like that at all.
29:25
He was a gentle guy. Yeah. Yeah. Totally different off camera. Yeah. He was great.
29:30
He was great. Golly. What a time. What a time.
29:36
Yes. Riverbend. Julius Tennant. Alex Morris.
29:40
The Mighty Sam Furstenberg. Michael J. Dennis, Fantastic Chaps,
29:46
All Fantastic Film. My review will be coming to filmthreat.com,
29:52
so keep your eye open for that.
29:54
But if you are in the Santa Monica area on Tuesday,
30:00
October 14th, 2025 at 7.30pm, you can check out the never-before-projected 35mm
30:09
print. It's a fantastic movie.
30:12
Riverbend Steve James, What a Man, What a Titan, Margaret Avery,
30:17
Fantastic Film Sam Furstenberg, and my other guests, Julius Tennant, Alex Morris.
30:23
Follow the links in the description, ladies and gentlemen. Riverbend.
30:27
It is simply incredible. Check the links in the description.
30:33
And as always, my little Eugenites, thank you for listening to us on Spotify
30:39
or wherever you choose to listen to your favorite podcasts.
30:42
I'm Kent Hill, and until next time, you've been listening to Cinema Zero Games.