“Blaxploitation or blacksploitation is an ethnic subgenre of the exploitation film, emerging in the United States during the early 1970s. The films, though receiving backlash for stereotypical characters all the while, were one of the first instances in which black actors and communities were the heroes and focuses of cinema and/or television, rather than being portrayed as sidekicks or as victims of brutality.[1]The genre allowed the rethinking of race relations in the 1970s.
Blaxploitation films were originally made specifically for an urban black audience, but the genre’s audience appeal soon broadened across racial and ethnic lines once Hollywood realized the potential profit of expanding the audiences of blaxpoitation films across those racial lines.”
Another film sub-genre with a very genuine atmosphere and idiosyncrasies that we at latenightmoviecrypt absolutely love. Blaxploitation produced its fair share of minor masterpieces, sub-par copycats and irredeemable trash. We love them all and herein present some genre classics and some lesser entries.
…have no fear ‘coz Pam Grier is here…
Black Caesar (1973)
Directed by:Larry Cohen
Cast: Fred Williamson, Gloria Hendry, Art Lund
The Blaxploitation to end all Blaxploitations, the film that put Fred “the hammer” Williamson on his own pedestal as a potent actor for the action genre. Larry Cohen’s film is a tragic tale of rise into prominence, betrayal and expected fall, is unapologetically exploitative, but it is a grindhouse film with brains and merits that cannot be overlooked.
Tommy Gibbs is a tough kid, raised in the ghetto, who aspires to be a kingpin criminal. As a young boy, his leg is broken by a bad cop on the take, during a payoff gone bad. Nursing his vengeance, he rises to power in New York City’s Harlem. Angry at the racist society around him, both criminal and straight, he sees the acquisition of power as the solution to his rage. He performs a free-lance hit on a Mob contract to attract the attention of the head of a Mafia family. Reluctantly accepted into ‘The Family,’ he grows increasingly autonomous and aggressive, eventually starting a gang war.
Cohen did something great here.Starting from casting the right guy for the job.The Godfather of Harlem is Fred Williamson and Fred Williamson is the Godfather of Harlem. Gloria Hendry is also a female lead that adds extra points film to the film, her acting qualities are obvious and she is not just a pretty face next to an imposing male lead. Basically everyone in the cast does a stellar job,citing the director himself “when we filmed in Harlem the local gangsters threatened to disrupt the shoot unless they were paid off. I offered them small roles in the film instead. “These guys were great.” “Anything we wanted, anything we needed to get, they got for me. We kind of owned Harlem after that. “ Literally everything .from its locations to its magnificent score, courtesy by none other than James Brown, to its great dramatic plot that unfolds like a saga, everything in the Black Caesar screams…classic.
Cohen’s film is a crime/mafia saga of epic proportions. It has the special Seventies atmosphere, the funky feel of Blaxploitation,a score by James Brown that is to die for, the gratuitous feel of exploitation cinema and the fine touch of a great scriptwriter/director. Do yourselves a favor and watch this gem.
Mean Johnny Barrows (1976)
Directed by:Fred Williamson
Cast:Fred Williamson,Stuart Whitman,Roddy McDowall
Poverty row ,shot on a shoestring budget Blacksploitation vehicle of self-indulgence written, directed by and featuring the ever suave, slick yet burly Seventies Blaction icon Fred Williamson.
Johnny Barrows, a G.I, is dishonorably discharged from the army after striking his commanding officer. When he returns home, he is mugged and thrown in jail. Down on his luck and with no money, he gets a job at a gas station run by a racist jerk. After a while, he beats him up and is thrown in jail again. Shortly after, a mobster hires him as a mafia hit man because of his military training and he now gets caught in the middle of a rival gang war between two families.
The problem with having seen a defining dare I say superlative entry in the Blacksploitation genre like Black Caesar prior to this ,is that everything else of the same ilk is bound to fall short. So is the case with “Mean Johnny Barrows”. For starters ,everything seems to lack ambition or a certain vision here. The storyline is pedestrian, the direction is heavy-handed and the deliveries are pretty much improvised (like the Elliott Gould cameo role).The pacing is also abysmal, for a 76 min. movie this one seems to last an eternity. However the movie eventually delivers after the first half and while not exactly a revelation of any sorts, it still works as a fine showcase for Williamson fans.
Plus, the Kung Fu scenes are hilarious…
Death Journey (1976)
Directed by: Fred Williamson
Cast: Fred Williamson, Bernie Kuby, Heidi Dobbs
More post-blacksploitation action unintentional hilarity shot almost back to back with “mean Johnny Barrows” which was a kind of a better entry than this one. This Po’Boy films (Williamson’s production company) production is tailor made for star/director Fred Williamson, who was/is the almighty “Hammer” but definitely worked better when his talents were directed by other more capable directors.
Fearful that their star witness might be murdered, two attorneys hire a protector to bring him from Los Angeles to New York. Jesse Crowder (Fred Williamson) is a no-nonsense tough guy. He buddies up with the witness, an accountant, and they hit the road. Outwitting their foes means taking all manner of conveyance, including automobile, train, and airplane. At every turn, Crowder and the witness face a variety of attacks, including gunfire and knife-wielding villains. At ease with the ladies, Crowder manages the entire journey with shirt unbuttoned and stogie clenched firmly in his teeth.
Williamson was/is a cool dude but even Williamson himself cannot redeem this workmanlike, guerilla piece of Z-grade blacksploitation that was shot in several states without permits. Obviously a zero budget affair “Death Journey has a paper thin storyline, tends to meander and bears uninspiring cinematography and sloppy editing work.
Even though it leaves a lot to be desired, Death Journey could interest the blacksploitation archivists and Williamson’s die-hard fans.
Hit Man (1972)
Directed by:George Armitage
Cast:Bernie Casey,Pam Grier,Lisa Moore
Now we are talking, Armitage’s Blacksploitation adaptation of the Ted Lewis novel Jack’s Return Home, more famously adapted as Get Carter works wonders when transferred to the seedy corners of Los Angeles, plus statuesque ex-Football pro Casey delivers a quintessential performance.
Oakland hitman Tyrone Tackett (Bernie Casey) comes home to southern California for the funeral of his brother Cornell. Cornell left behind his wild daughter Rochelle (Candy All), who rejects Tyrone’s offer to live with him. Tyrone befriends his late brother’s business partner, Sherwood Epps (Sam Laws), and stays in town to investigate his brother’s death. He is threatened by gangsters who tell him to leave town, but they’ve threatened the wrong man.
Excellent blend of film noir and Blacksploitation directed with verve and gusto by George Armitage, the blue movie industry subplot adds sleaze points while Bernie Casey enters the pantheon of blacksploitation action giants along Richard Roundtree,Fred Williamson and Jim Brown. Pam Grier ,the tough mama of blacksploitation is given little to do, but delivers a memorable performance.
Long story short, Hit Man ,which also bears a delicious soundtrack, has style, substance and soul. Quintessential blacksploitation fun!!!
Slaughter’s big Rip-Off (1973)
Directed by: Gordon Douglas
Cast: Jim Brown, Ed McMahon, Don Stroud
Another Blaxploitation classic featuring a hardboiled yet charming character, Jim Brown’s titular badasss cat named Slaughter is another iconic black character . Slaughter’s big rip-off is great for what it is and in many ways tops the original Slaughter movie.
Slaughter goes to a friend’s house for a lavish outdoor picnic and celebration. Meanwhile, a new crime boss, Duncan (Ed McMahon), is now after Slaughter, for having killed ex Mafia boss Dominic Hoffo earlier. An old World War I biplane is seen flying by the outdoor celebration and then opening fire on the guests at the picnic. It results in the graphic death by headshot of Slaughter’s friend, which reignites the old spark of fury and rage that Slaughter had when told of the death of his parents. Vigilante Slaughter finds out that local mobster Duncan is behind the killing of his friends and tries to track him down but the mobster will also try to dispatch him .Duncan’s hit-man Kirk traps Slaughter in a car at a cliff which results in Slaughter’s girlfriend Marcia (Gloria Hendry of Black Caesar fame) being killed, but Slaughter escapes, arms himself, and goes after Duncan’s hideout.
Slaughter’s big Rip-off is high octane blaction without weak parts and is a great watch from beginning to end for fans of the Seventies action cinema. Jim Brown is quite a character and adds intensity to his part with his crazy antics. James Brown also comes up with another unforgettable film score. However this one is not an exercise in classic film-making but rather a very solid blaxploitation entry that will keep the fans of the genre satisfied.
Μήνας blacksploitation στο μπλογκ. Μετά τις αρμόζουσες τυμπανοκρουσίες ας ασχοληθούμε λίγο με το να εισάγουμε τον αδαή φίλο αναγνώστη στο είδος το οποίο παρά το γεγονός ότι αρχικά αποτέλεσε πολιτική δήλωση κατόπιν έτυχε εκμετάλλευσης από τα στούντιο.
Σημείο γέννησης αυτού που λέμε blacksploitation ήταν οι ταινίες Sweet Sweetback‘s Baadasssss Song και το Shaft. H θεματική των ταινιών είχε συνήθως να κάνει με μέλη της Αφροαμερικανικής κοινότητας γένους αρσενικού που είτε μάχονταν για την επιβίωση, είτε προσπαθούσαν να ανελιχθούν στην κοινωνική κλίμακα ,είτε αποτελούσαν μέλη της Ελιτ του υποκόσμου, είτε έκαναν όλα τα παραπάνω ταυτόχρονα. Μοιραία το ύφος των ταινιών δεν προσφερόταν για βαθιά πολιτική ανάλυση αν και υπάρχουν σποραδικά παραδείγματα αυτής. Παρόλα αυτά οι ταινίες του είδους μπορούν να υπαχθούν εν γένει στο είδος των ταινιών δράσης.
Το είδος γνώρισε μια ήπια εμπορική επιτυχία από τις αρχές έως τα μέσα της δεκαετίας του 70’ και μετά μοιραία παρήκμασε αφού αναλώθηκε σε αναπαραγωγή στερεοτύπων γύρω από τους ήρωες του. Παρόλα αυτά το είδος παρήγαγε μερικά αριστουργήματα και η ατμόσφαιρα που διέπει αυτές τις ταινίες είναι αναμφισβήτητη. Το είδος επίσης πρόσφερε βήμα και σε μια νέα γενιά αφροαμερικανών ηθοποιών που δικαίως ξεχώρισαν, χαρακτηριστικά παραδείγματα αυτά της Pam Grier και των Fred Williamson,Richard Roundtree,Billy Dee Williams,Jim Brown,Bernie Casey.
Aς ξεκινήσουμε τώρα το ταξίδι σε έναν κόσμο σκοτεινό αλλά με ψυχή. Θα μας συνοδεύσουν soul και funk ήχοι μιας αλλοτινής εποχής και ο χαρακτηριστικός ήχος της αργκό της αφροαμερικανικής κοινότητας. Το νου σου jiveassssss…
Black caesar
Ταινία του τιτάνα Λάρρυ Κοέν που έκανε το Φρεντ Γουίλιαμσον φίρμα και τον καθοδήγησε σε υποκριτικά μονοπάτια τα οποία ο ηθοποιός δυστυχώς δεν επαναπροσέγγισε ποτέ αφού αναλωθηκε σε μανιερισμούς και κοινοτοπίες στο μεγαλύτερο κομμάτι της μετέπειτα καριέρας του.
Η ταινία του Κοεν είναι κατά βάσιν μια τραγική Σάγκα φτώχειας,ανέλιξης με κάθε μέσο και τελικής προδοσίας. Η άνοδος και η πτώση του πρωταγωνιστή περιγράφεται με στέρεο αφηγηματικά τρόπο και η πλοκή είναι καθηλωτική. Το φινάλε έρχεται και παρότι αποκαρδιωτικό για τον πρωταγωνιστή είναι πλήρως αναμενόμενο και δικαιολογημένο. Μαύρη έκδοση ταινίας του Σκορσέζε? Ίσως… και τα «σπάει» για αυτό ακριβώς το λόγο.
Mean Johnny Barrows
Cult μεταχρονολογημένο Blacksploitation φιλμ με Fred Williamson στη σκηνοθεσία (που λέει ο λόγος) και στον πρωταγωνιστικό ρόλο. Ακόμα και μέσα από το αποτρόπαιο pan and scan της βιντεοκασέτας μπορει να διακρίνει κανείς πως ο προαναφερθείς δεν διεκδικούσε ποτέ δάφνες σκηνοθετικής μαεστρίας . Η ιστορία παρασημοφορημένου πρώην βετεράνου ,ο οποίος αναγκάζεται να γίνει πληρωμένος δολοφόνος για τη μαφία προκειμένου να εξασφαλίσει τα προς το ζην στο αφιλόξενο Los Angeles αποτελεί απλά ένα πρόσχημα για να κάνει ο Williamson το κομμάτι του,μοιραία η πλοκή έχει περισσότερες τρύπες και από Ελβετικό τυρί, παρόλα αυτά η ταινία βλέπεται χωρίς να είναι κάτι το ιδιαίτερο. Τα χειρότερα έρχονται παρακάτω…
Death Journey
Cult ξε-cult ,το παρόν με ψιλονίκησε.Με ακόμα περισσότερες τρύπες από το προηγούμενο , ο Williamson κάνει ταινία με το τίποτα και η ιστορία πρωην μπάτσου νυν ιδιωτικού ντετέκτιβ ,ο οποίος αναλαμβάνει να συνοδεύσει υπέρβαρο μάρτυρα σε δίκη προκειμένου να μην τον «φάει» η μαφία γίνεται πρόσχημα για να έλθουμε αντιμέτωποι με πλειάδα ασήμαντων σκηνών υποτιθέμενης καταδίωξης. Η ταινία δεν απογειώνεται όμως ποτέ… Ψιλοφιάσκο…
Hitman
Noir/blacksploitation κόλαφος από τον George Armitage με έναν εμβληματικό Bernie Casey στο ρόλο του Ταυρον Τακεττ, ενός άνδρα με στυλ αλλά και πυγμή που τα βάζει με όλη τη μαφία και το κύκλωμα πορνογραφίας του LA προκειμένου να βρει τη γαλήνη και να δικαιώσει-αποκαταστήσει τη μνήμη του δολοφονημένου αδελφού του. Η ταινία σε κερδίζει από τα opening credits.Ισοδύναμο με το black caesar.
Slaughter’s big Rip-off
Αφρο-Vigilante μαγεία με Τζιμ Μπραουν στο ρόλο του πράκτορα Σλωτερ να τσακίζει τους πάντες στο πέρασμα του εκδικούμενος τη σφαγή των φίλων του και φυσικά να μαγεύει και τα κορίτσια. Η ταινία φέρει τον Ελληνικό τίτλο «σφαγή στη λέσχη του Χόλυγουντ» και είναι όνομα και πράμα.Δεν περιγράφω άλλο…