Broadway, Debbie Allen, DOC NYC, documentaries, film festivals, Gregory Hines, John Carluccio, LGBTQ, Maurice Hines, Maurice Hines: Bring Them Back, movies, music, musicals, New York City, reviews, The Cotton Club
November 18, 2019
by Carla Hay
“Maurice Hines: Bring Them Back”
Directed by John Carluccio
World premiere at DOC NYC in New York City on November 10, 2019.
In the opening scene of “Maurice Hines: Bring Them Back,” Tony-nominated entertainer Maurice Hines Jr. (who is in his 70s) is shown tap dancing with the kind of talent that most people never have in their lifetimes. That opening scene in this fascinating and comprehensive biographical film is a nod to Hines’ dancing roots, because he got his start in showbiz as a tap dancer at the tender age of 5. Throughout his childhood and early adulthood, Hines’ dancing partner was his younger brother Gregory. The two brothers also performed with their musician/singer father, Maurice Hines Sr., as part of the trio Hines, Hines and Dad.
But just like a lot of siblings, Maurice and Gregory (who died of cancer in 2003) often didn’t see eye to eye, and the documentary shows that the brothers’ relationship is the source of Maurice’s biggest lifelong emotional joy and pain. Their on-again, off-again feuding is discussed, but thankfully not exploited in the movie, which shows that Maurice has led a full and interesting life that includes being openly gay from as early as he can remember.
As Maurice’s friend Debbie Allen says in the film: “Maurice is one of the most energetic, alive people I’ve ever known.” And the movie has a spectacular range of archival footage, from his early years as a performer to his stints on Broadway or on tour for such productions as “Eubie!,” “Sophisticated Ladies,” “Uptown… It’s Hot!” There’s also new footage of Maurice dancing up a storm with dancer brothers Leo and John Manzari, who are his protégés and frequent collaborators. Viewers also get to see how much he loves to mentor young dancers, as he’s shown as a guest instructor at the Debbie Allen Dance Academy in Los Angeles, as well as at the University of Hartford in Connecticut.
One of the surprising revelations in the movie is that Maurice’s family always accepted him as gay. Living his life so openly as a gay man was rare for his Silent Generation, just as it was rare for out LGBTQ people to be completely welcomed by their families, when homophobia was enforced by society at large. In the documentary, Hines remembers his mother telling him that she always knew he was gay before he told her, and he’d tell his father about the guys he was dating when his father asked about his love life. His straight brother Gregory, who used to go to gay bars with Maurice, had no hangups about dancing with gay men at the clubs.
And Maurice isn’t shy about discussing his favorite type of men: “I like football players the best,” he says. “If they’ve got big calves, we’re going to talk.” He also mentions that he used to date a lot of football players (but he doesn’t name names), and here’s how he described the relationships: “They just fell in love with me.”
The documentary also shows him playfully flirting with a young, stocky black cameraman from the film crew, after Maurice realizes that the cameraman overheard his microphoned comment about how he thinks the guy is sexy. “I’m 75, baby,” he laughed while sizing up the cameraman. “I say exactly what I need.”
Among the other people interviewed in the movie are Gregory’s children Daria and Zach; Gregory’s first ex-wife, Patricia Panella, who’s remained a close friend of Maurice’s; the Manzari Brothers; Ballet Tap USA founder Mercedes Ellinston; and Maurice’s friends Chita Rivera and Mel Johnson Jr., whose decades-long friendship with Maurice began when they when they were in the original 1978 Broadway cast of “Eubie.” Maurice also acknowledges some of his biggest influences, including his mentor Henry LeTang and VOP dance creator Frank Hatchett.
The documentary also covers how Maurice was affected when Gregory split off from him in 1972 to establish a separate career. Gregory still performed in musical theater, but he went on to become a star of films and TV shows, while Maurice stayed primarily in theater, where he sometimes replaced Gregory in touring productions of Broadway shows that previously starred Gregory. Maurice made his film debut in director Francis Ford Coppola’s 1984 drama “The Cotton Club,” in which he and Gregory played estranged, tap-dancing brothers who eventually reconcile. (The movie was also the last time that the two brothers danced together in public.)
The brothers’ relationship in “The Cotton Club” was very much a case of art imitating life. Although there was a period of about 10 years when Gregory and Maurice didn’t speak to each other (even when they lived just a few blocks from each other), they eventually reunited by the late 1990s, and remained close until Gregory’s untimely death in 2003. Maurice says in the movie (and his family and friends confirm) that he will never tell anyone why he and Gregory stopped talking to each other during their long estrangement. One of the most touching parts of the documentary is when Maurice accompanies Coppola to a 2017 Telluride Film Festival restoration/revival screening of “The Cotton Club,” and Maurice gets emotional during a post-screening Q&A when talking about Gregory.
Maurice also shows his tender side when it comes to his daughter, Cheryl Davis, whom he adopted with Silas Davis, who was Maurice’s partner from 1979 to 1996. (It’s another example of how Maurice was ahead of his time, because he adopted when gay adoptions weren’t allowed in most states.) Cheryl is in the movie, and Silas is briefly heard in in the film, in a voiceover interview discussing how they raised her.
“Maurice Hines: Bring Them Back” director John Carluccio, who is also the film’s editor and cinematographer, weaves together a fascinating story by not only respectfully telling Maurice’s life story but also not forgetting to present an overall historical context of the groundbreaking things that Maurice did as an openly gay black man in the entertainment industry. Many of his accomplishments were during a time when being an openly gay black man put him at high risk of being fired, assaulted, or worse.
The movie is also an unflinching look at how Maurice is dealing with aging. He shows some reclusive tendencies as a senior citizen who lives alone, and he openly discusses how much it bothers him to know that he’s losing his short-term memory. But no matter what age Maurice is, his charisma and zest for life are firmly intact, and it’s a joy to watch him in this movie. Simply put, “Maurice Hines: Bring Them Back” isn’t just a documentary about an underrated artist who at times was overshadowed by his more famous younger brother. The movie also shows how Maurice is a person of substance in his own right, and it’s an inspirational look at how someone can live life with passion and authenticity, while uplifting other people.