Femmes Fatales Jul 11 2018
VICIOUS CYCLE
Tamara Dobson is hell on wheels.


Tamara Dobson straddles a dirt bike in this promo photo from her blaxploitation thriller Cleopatra Jones. In the film she commandeers the bike at a race to chase a bad guy, and manages to catch him and whip his lame ass without so much as disturbing her queenly hair wrap. In a genre marked by cheap failures and ambitious disasters Cleopatra Jones stands as one of the most successful entries. It premiered in the U.S. today in 1973.

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Vintage Pulp Jun 26 2018
RUNAWAY TRUCK
Get in his way and he'll roll right over you.


The movie Truck Turner was originally written to star Lee Marvin, Robert Mitchum, or Ernest Borgnine, but none of them were available. American International Pictures exec Larry Gordon reportedly said, “Well, we can't get any of them so now it's a black picture.” Marvin, Mitchum, and Borgnine were lucky they dodged this Truck. Isaac Hayes was signed up and he plays an L.A. bounty hunter who chases down a pimp named Gator only to end up pitted against a powerful madame named Dorinda. The movie is poorly put together, which you wouldn't guess from looking at its scores on sites like IMDB, where raters give it a 7.0. But we suspect those ratings derive from copious action and an amusingly bad script, particularly co-star Nichelle Nichols' tour de force segment in which, as Dorinda, she parades her whores before a group of pimps and describes their assets in a colorful monologue that's possibly the funniest moment from any blaxploitation movie. Here it is:

Gentlemen, this is my family. These all prime cut bitches. $238,000 worth of dynamite. It's Fort Knox in panties. Candy did seventeen thousand last year. Velvet, Miss Sophisticate, did twenty. Used to be a Paris model. Jess and Annette each did twenty-two five. Show 'em your wares, bitch. [bitch licks lips, strikes a pose] See what you can get if you're good? That's Turnpike. She did twenty-six five. She's called Turnpike ’cause you gotta pay to get on and pay to get off. China, come here, baby. China did twenty-nine. Sweet piece a Oriental meat. Mmm, mmm, mmm. This is Frenchy. Gator used to call her Boeing 747. Show 'em why, bitch. [bitch shimmies] She did twenty-seven five. And that's sweet Annette. Show 'em that smile, you sweet thing. She did thirty thou last year. And where's my baby? That's Taffy. This bitch grossed thirty-seven thousand five hundred dollars working part time. Shit, her clients think she's too good to fuck. They call her Colonel Sanders because she's [bitch licks fingers] finger lickin' good.”

So that's pretty funny, in a horrible, un-2018 kind of way. The outtakes must have been uproarious. Nichols knocks this bit out of the park like a hanging curveball because she can act (in fact, watching how she makes those words sparkle is a clinic on the wide gap between screenwriting and an actor's interpretation). Yaphet Kotto as the pimp Harvard Blue makes his role work because he can act too. But nobody else can. Luckily, as action eventually overtakes dialogue matters improve considerably, with the last third of the movie developing enough momentum to sustain viewer interest. There's one other asset too—Hayes' groovy soundtrack. But you don't have to watch the movie to enjoy that, or Nichols' monologue, which you can watch at this YouTube link while it lasts. It starts about forty seconds in. Otherwise, we recommend giving Truck Turner a pass unless your sense of humor is—like ours—inclusive of semi-inept Hollywood obscurities. If that's the case, roll on. Truck Turner premiered in the U.S. in 1974.

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Vintage Pulp Jun 15 2018
FLY IN THE OINTMENT
All it takes is one to ruin everything.


Successful blaxploitation movies often spawned sequels which benefitted from more resources than were put into the originals. Super Fly was a surprise hit in August 1972, so the Hollywood suits bent their efforts toward riding the gravy train and Super Fly T.N.T. premiered in the U.S. today in 1973, only ten months later. This was a big deal production. Paramount Pictures financed it, future Roots author Alex Haley wrote the script, the shooting took place in Rome and Senegal, and West African/Caribbean funk superstars Osibisa provided the soundtrack. But the movie needed star Ron O'Neal in the title role. And in order to get him Paramount had to let him direct. We can just imagine the high blood pressure meetings on the Paramount lot when the suits realized a blaxploitation star was actually blaxploitating them. So how did O'Neal do? We'll come to that.

In Super Fly the character of Priest wanted out of the drug business. In Super Fly T.N.T. he's living in Rome off the proceeds of his big score, and the ghetto is just a bad memory. And the U.S. as a whole is a place he understands will never change. There's too much invested in the status quo of racism. But in Rome he has friends from all walks of life. He eats in nice restaurants and nobody throws him attitude. He rides horses. And living there has given him some perspective. His novelist pal tells him, while the two are strolling in the city center, “These people are all walking around living right here in the middle of thousands of years of history. And I mean their own history. That's what makes them different.”

But Priest is directionless. He has no idea what to do with his life. Eventually he's asked to help the struggling African nation of Umbria stockpile guns for a revolution and decides this could be his higher cause. From that point forward Super Fly T.N.T. becomes an espionage drama. And not a good one either. While O'Neal's direction isn't scintillating, the main problem is that the script was written by someone who understood history, politics, and anthropology perfectly, but didn't have a firm grasp of cinematic pace and action. Yep, we're laying this failure at literary icon Alex Haley's feet. O'Neal may not have been the best director, but there wasn't much to direct. It's a shame, because Priest was one of the best characters to come out of the blaxploitation wave. Super Fly T.N.T. wastes his cultural capital.

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Femmes Fatales May 8 2018
GRIER'S RULES
I'm going to be making some changes around here.


Pam Grier wears an outstanding floor length dress in this promo image from her 1974 blaxploitation flick Sheba, Baby. The dress would almost distract you from the fact that she's also heavily armed. But she doesn't need the gun—you'd willingly do whatever she said. Sheba, Baby wasn't her best film, but this photo is tops.

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Femmes Fatales May 4 2018
TO PROTECT AND SERVE
This little guy is a jailbird and he just got his parole today. Who says rehabilitation doesn't work?


Above is a photo of U.S. actress Teresa Graves, whose primary claim to fame was starring in the blaxploitation inspired television cop drama Get Christie Love. It ran for one season on ABC from late 1974 through early 1975. We've never seen it but it seems to have developed a cultish following—no surprise, with Ms. Graves in the starring role. Below you see another shot, and her signature line from the show: “You're under arrest, sugar.” Get Christie Love is being rebooted for a 2018 cable movie with a celestial being named Kylie Bunbury in the starring role, but maybe we'll watch the original first. If we do you can be sure we'll report back.

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Vintage Pulp Mar 26 2018
QUEEN SHEBA
Pam Grier was the undisputed ruler of the blaxploitation realm.


The arc of Pam Grier's blaxploitation career is interesting. To us it seems pretty clear that once her studio American International realized they had a true star on their hands the projects they cultivated for her moved toward the cinematic center and became tame and uninspiring. We noted this when we talked about 1975's Friday Foster a while back. Sheba Baby, which was made the same year and premiered in the U.S. today, suffers from the same problem. It's too cute and too palatable, too eager to please in its attempt to draw in mainstream audiences. Grier loses her grit. She plays Sheba Shayne, whose father is harassed by organized crime hoods and needs help to fight their plot to take over his business. Grier leaves her Chicago detective agency and heads down south to Louisville, Kentucky to kick ass and take names. The hoods are black men from around the way, but the real villain is a white guy on a yacht in the river. He's archetypal. He could just as well be a white guy in a mansion on a hill, or in a penthouse uptown. Whoever and wherever he is, he's going down hard and it's going to hurt.

The importance of blaxploitation is that it centered stories on the black experience—family, neighborhood, crime, racism, and the predations of America's two-tiered policing and court systems. This focus on core black issues existed even in films that represented alternate realities, such as horror and martial arts blaxploitation. The eventual sanitization of the genre was due to pressure from two directions at once: from the mainstream to avoid alienating white audiences, and from the black counterculture to avoid caricatured portrayals of blacks. Caught between these two forces, the center of blaxploitation shifted. Meanwhile, inside the subculture, initial euphoria at seeing black stories onscreen evolved into annoyance that the control and profits belonged almost exclusively to white men. It seemed like a plantation system on celluloid, and helped take the bloom off the rose. 1976 and 1977 would remain strong years for the genre, but by 1978 blaxploitation, as it was generally agreed to exist, would all but disappear. Sheba Baby is an important film in the pantheon, but in watching it you also see the genre losing its bite.

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Hollywoodland Mar 14 2018
COLD CASEY
2nd Amendment, motherfucker. If you say it's your right, then it's my right too.


Bernie Casey exercises his right to bear a chrome plated Colt Super .38 automatic in this cool promo photo made for his 1972 blaxploitation flick Hit Man. We love Casey. He died just last year, and was pretty much unheralded, but he appeared in a lot of fun movies, including Sharky's Machine, The Man Who Fell To Earth, Cleopatra Jones, Boxcar Bertha, and Bill & Ted's Excellent Adventure. He also had the good fortune to get naked with both Pam Grier and Claudia Jennings. The Jennings scene is flat amazing, but the Grier scene, which is actually from Hit Man, is hilarious. As Grier climbs atop him and presses her naked body full length onto his the expression on his face reads something like: “Oh. My. Freaking. God.” That's probably the only time in his life he wasn't 100% cool.



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Femmes Fatales Feb 13 2018
A NOVEL APPROACH
Sometimes you have to write your own second act.


This shot shows the beautiful Denise Nicholas, who as an actress is known for Let's Do It Again, Blacula, A Piece of the Action, and the television series Room 222. After all those credits she became a novelist and wrote Freshwater Road, which was selected as one of the best books of 2005 by the Washington Post, the Chicago Tribune, and several other papers. That's a feat—not just writing a novel but writing a widely acclaimed novel—we don't think very many other film performers have managed. At the moment Nicholas seems to be retired, but you never know when it comes to writers. The above image is from around 1975.

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Vintage Pulp Dec 25 2017
FOSTER CARE
Grier tries to foil an assassination plot.


It's Christmas day, and what is the main thing everyone does today? They go overboard. So in that vein we have more posts for you than you could have rightly expected, though we'll admit we wrote them in advance and right now we're nowhere near a computer. We're starting the X-mas treats with this vintage poster for the Pam Grier blaxploitation flick Friday Foster, a film that opened in U.S. today in 1975. After successes with Coffy, Foxy Brown, et al, American International Pictures steered Pam a bit more mainstream with the PG rated Sheba, Baby and learned from that mistake. So they turned the heat back up, scheduled a Christmas release date, and gave Grier fans a movie with twice the action, twice the humor, and twice the tongue-in-cheek factor as usual, plus three steamy Grier nude scenes rather than the usual two.

Grier plays a photo-journalist who tries to get a sneaky paparazzi shot of a reclusive millionaire only to find herself photographing an assassination attempt-turned-bloodbath. While American International kicked things up a notch, the customary Grier grit is missing, as too many wisecracks and camp moments leave the film without any heft. It almost seems as if, with a full blown international star on its hands and costs rising, American International decided to cut corners in pre-production. Script-wise Friday Foster is too formulaic and self-conscious. Soundtrack-wise, instead of songs performed by a viable R&B artist, it has cheeseball wacka wacka interstitial music, with chick singers trilling, “Hey Friday, whatcha doin' girl, hey, whatcha doin' girl whatcha doin'.” Direction-wise, four-time Grier collaborator Jack Hill has been tossed in favor of Arthur Marks, who came up directing episodes of the television show Perry Mason.

Friday Foster was Grier's last go-round with American International, and a good thing, because somebody forgot she became popular playing a streetwise, ass-kicking, So-Cal soul sister. Her turn as a middle-class photo-journalist might have worked, but not with the support she needed chopped from under her. American International wanted to mainstream her, except it had no idea how to do it. But Grier's still Grier, and even stuck in what feels like a washed out version of her better films, she remains as watchable as any star of her era. After another couple of years the work would come in spurts, a small part here, a television show there, an occasional lead role, and bit by bit, appearance by appearance, Grier would stitch together a career spanning four decades and counting. Friday Foster is isn't the best entry on her résumé, but even midding Grier is worthwhile Grier.

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Modern Pulp Oct 20 2017
CAGE FIGHTERS
The only rehabilitation going on here is by the poster artist.


Above you see a striking color poster for the Roger Corman produced women-in-prison flick Women in Cages, one of the many sexploitation epics filmed in the Philippines during the 1970s. For an entertaining ninety minutes on that subject, by the way, you should watch the documentary Machete Maidens Unleashed. It's the final word on the chaos of Philippine movie production and covers everything from Savage! to Apocalypse Now. Women in Cages is one of the earlier Philippine women-in-prison flicks, coming after The Big Doll House.

Despite the fact that the poster is signed R. Engel and dated '72, it's actually a piece of modern pulp made within the last several years. The person behind it is German artist Rainer Engel, who put it together borrowing the DVD box cover art from Subkultur-Entertainment's 2013 re-issue of the movie, which in Germany was called Frauen hinter Zuchthausmauern. We ran across the re-styled poster on the artist's website, decided his mock-up beats the hell out of the 1971 original art, and thought it was worth sharing.

When we wrote about the film a while ago we said we thought it was a bit much. Specifically, it's relentlessly grim. Of the trilogy that includes The Big Doll House and The Big Bird Cage this middle entry is the one that forgot the first rule of the 1970s women-in-prison genre—the movie should be absurd and fun. When it isn't—i.e. when it shades into depressing realism—you come away wondering if there's something wrong with you for having watched it in the first place. You can read our post on the film here, and you can visit the artist's website here.

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Next Page
History Rewind
The headlines that mattered yesteryear.
July 21
1925—Jury Decides the Teaching of Evolution Is a Crime
In the famous Scopes Monkey Trial, American schoolteacher John Scopes is found guilty of violating the Butler Act, which forbids the teaching of evolution in schools. The sensational trial pits two great legal minds—William Jennings Bryan and Clarence Darrow—against each other. Ultimately, Scopes and Darrow are destined to lose because the case rests on whether Scopes had violated the Act, not whether evolution is fact.
1969—First Humans Reach the Moon
Neil Armstrong and Eugene 'Buzz' Aldrin, Jr. become the first humans to walk on the moon. The third member of the mission, command module Pilot Michael Collins, remains in orbit in Apollo 11.
1972—Chaos in the Big Apple
In New York City, within a span of twenty-four hours, fifty-seven murders are committed.
July 20
1944—Hitler Survives Third Assassination Attempt
Adolf Hitler escapes death after a bomb explodes at his headquarters in Rastenberg, East Prussia. A senior officer, Colonel Claus Schenk von Stauffenberg, is blamed for planting the device at a meeting between Hitler and other senior staff members. Hitler sustains minor burns and a concussion but manages to keep an appointment later in the day with Italian leader Benito Mussolini.
July 19
1966—Sinatra Marries Farrow
Superstar singer and actor Frank Sinatra marries 21-year-old actress Mia Farrow, who is 30 years younger than him. The marriage lasts two years.
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