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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Femmes Fatales Oct 6 2017
SHEER JOI
So that flimsy excuse I said I had for inviting you over? I'm wearing it.


We featured a very nice shot of U.S. actress Marilyn Joi last year, but she deserves a rerun, so here she is again, chilled out, sporting an afro, and looking like she has something naughty on her mind. The shot was made in 1973 as a promo for the blaxploitation flick Coffy. The fact that the photo exists is a bit is unusual due to the fact her role in the film was so brief she never got screen credit. She was one of the prosties in the pimp King George's stable, competition for an infiltrating Pam Grier, who was on a revenge mission. Joi probably got fifteen seconds of screen time, which may be why this photo is often misattributed. It's Joi, though. As proof there she is below in a screen grab from the movie.



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Vintage Pulp Sep 29 2017
FURIOUS VENGEANCE
He's an extinction level event all by himself.


The two Italian posters above and the accompanying production photos below are from Jim Brown's violent 1972 blaxploitation flick Slaughter, a movie we talked about in detail last month. Short version: we really need to hit the gym. The photos show Brown, Stella Stevens, and Marlene Clark. The last two aren't frames from the film—in the film Brown's and Stevens' characters meet for the first time at a swimming pool, but there's no kissing, only wary flirtation. Those two photos show them getting along quite swimmingly between takes. Stevens has given the impression in interviews that sparks flew between her and Brown, and the images seem to confirm that. You can check out our original write-up on the movie here.

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Femmes Fatales Aug 20 2017
PURE T.N.T.
This woman is simply dynamite.


U.S. actress Annie Lee Morgan used a couple of pseudonyms in her career. When she broke into celebrityhood as a nude model for Playboy she was Jean Bell, and later as an actress she was often Jeannie Bell. By whatever name she was one of the most beautiful performers of the 1970s, which makes it a shame b-movies and television shows were the extent of her career. Her best known role? Probably the blaxploitation actioner T.N.T. Jackson—which you can read about here. The above shot is undated but probably from around 1973.

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Next Page
History Rewind
The headlines that mattered yesteryear.
May 20
1916—Rockwell's First Post Cover Appears
The Saturday Evening Post publishes Norman Rockwell's painting "Boy with Baby Carriage", marking the first time his work appears on the cover of that magazine. Rockwell would go to paint many covers for the Post, becoming indelibly linked with the publication. During his long career Rockwell would eventually paint more than four thousand pieces, the vast majority of which are not on public display due to private ownership and destruction by fire.
May 19
1962—Marilyn Monroe Sings to John F. Kennedy
A birthday salute to U.S. President John F. Kennedy takes place at Madison Square Garden, in New York City. The highlight is Marilyn Monroe's breathy rendition of "Happy Birthday," which does more to fuel speculation that the two were sexually involved than any actual evidence.
May 18
1926—Aimee Semple McPherson Disappears
In the U.S., Canadian born evangelist Aimee Semple McPherson disappears from Venice Beach, California in the middle of the afternoon. She is initially thought to have drowned, but on June 23, McPherson stumbles out of the desert in Agua Prieta, a Mexican town across the border from Douglas, Arizona, claiming to have been kidnapped, drugged, tortured and held for ransom in a shack by two people named Steve and Mexicali Rose. However, it soon becomes clear that McPherson's tale is fabricated, though to this day the reasons behind it remain unknown.
1964—Mods and Rockers Jailed After Riots
In Britain, scores of youths are jailed following a weekend of violent clashes between gangs of Mods and Rockers in Brighton and other south coast resorts. Mods listened to ska music and The Who, wore suits and rode Italian scooters, while Rockers listened to Elvis and Gene Vincent, and rode motorcycles. These differences triggered the violence.
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