Disco Godfather.

Review #2507: Disco Godfather.

Cast: 

Rudy Ray Moore (Tucker Williams), Carol Speed (Noel), Jimmy Lynch ("Sweetmeat"), Jerry Jones (Dr. Fred Mathis), Lady Reed (Mrs. Edwards), Hawthorne James (Ray "Stinger Ray"), Julius Carry ("Bucky")", Hazel Spears (Ellen Davis), Frank Finn (Lieutenant Frank Hayes), Fitz Houston (Kilroy), and Pucci Jhones ("The Angel of Death") Directed by J. Robert Wagoner.

Review: 

This was the fifth and final movie where you could reasonably see Rudy Ray Moore on the big screen in a substantial role (okay so he wasn't in The Monkey Hustle [1976] that much, but he was on the poster, so...). Honestly, he pretty much peaked with his first one with Dolemite (1975), which somehow soared in its amusement and entertainment value despite clear and obvious flaws (the filmmaking, for one). The Human Tornado (1976) could've gone better. Petey Wheatstraw (1977) was flat out weird. By this point, Moore was actually in his fifties. Okay, so here is a movie written by two people: Cliff Roquemore (who directed Moore in The Human Tornado and Petey Wheatstraw and did a performance film of Moore's act in 1982) and J. Robert Wagoner. For the rest of his life, Moore would make bit appearances in a variety of programs of television and direct-to-video and theatrical works while doing his comedy albums and even being invited to appear in songs. Needless to say, he lived a colorful life that very well could be a hero of what he called "ghetto expression"*.

Well, there were a few disco-related movies at the time too, so why not cross that with a message about angel dust? Sure won't see that in Roller Boogie (1979), I imagine. I'm not exactly sure why the movie is called "Disco Godfather", because the lead character is an ex-cop that goes on a double-sided crusade: cracking down on where the drug structure is coming from and pushing along with a community alliance of activists to (no I'm not joking) "Attack the Wack". What I wish I could know about the movie is what type of atmosphere this film was made under: sure, it was probably a B-movie made fast and cheap (Moore was also co-producer) but was there any sort of substances involved to come up with such an incoherent movie? You get plenty of hallucinations (get it, because PCP is like being in hell) for a movie that actually does feature plenty of blood from its array of goofy fights (and one suicide because, yes, a guy gets busted for being an informant) and even goofier stakes, at least when not detailing PCP-affected people that may or may not recover from their addiction while others apparently deal with the ramification of roasting babies when high. Consider one scene where our hero has a hit put on him where the hitmen are right at the disco ready to shoot him...only for the bad guy to put a hit on the hitmen! Because he wants the hero to be alive to deal with. You might wonder how the movie lasts 97 minutes. Well, between all of the goofy sequences involving disco (don't take a shot every time someone says "weight"), I think you can understand. There is a sense of tiredness that becomes apparent in the imagination of all involved with Moore (suffice to say, one does miss the kung-fu trained prostitutes of Dolemite). Here you just get a movie that would probably make a goofy doubleheader with Reefer Madness (1936). As a whole, the film is a goofy hit-or-miss experience that never really clicks into serious gear for any of its interests but is at least committed enough in its vision to provide curiosity that may be up your alley if you like old-time oddball movies.

 

Overall, I give it 6 out of 10 stars.

*I'm not sure if I ever linked to this article, but it is interesting to note that Moore apparently was in the closet: My Coke-Fueled Nights With Dolemite - OZY | A Modern Media Company + New Doc Reveals Details Of ‘Dolemite’ Actor Rudy Ray Moore’s Sexuality

Abby.

Review #1636: Abby. 

Cast: 

William Marshall (Bishop Garnet Williams), Terry Carter (Rev. Emmett Williams), Austin Stoker (Det. Cass Potter), Carol Speed (Abby Williams), Juanita Moore (Miranda 'Momma' Potter), Charles Kissinger (Dr. Hennings), Elliott Moffitt (Russell Lang), Nathan Cook (Tafa Hassan), Nancy Lee Owens (Mrs. Wiggins), and William P. Bradford (Dr. Rogers) Directed by William Girdler.

Review: 

"Sure, we made 'Abby' to come in on the shirttail of 'The Exorcist."

There are plenty of hands responsible for such an interesting piece of horror curiosity that fits its era like no other. The first step is to cite the director in William Girdler. The Kentucky native made nine films before his tragic death in 1978, with the films specializing in horror and action. Girdler's films were never considered great pieces of entertainment, but they certainly had a place, whether involving killer nature like Grizzly (1976) or blaxploitation action like Sheba, Baby (1975). However, it was this film that helped bring him into attention, for good and bad reasons. Of course, one needs a good cast to drive a horror film, so why not have an actor familiar with scares - enter William Marshall. The Indiana native went to New York University initially for art, but he found himself interested into theater, and his study at the Actors Studio among other playhouses led to a debut on Broadway in 1944. He would receive notice for his work in theater work such as The Green Pastures and Shakespearean performances such as Othello. His first film role was Lydia Bailey (1952), and blacklisting could not keep him down from keeping busy with television as well to accompany his voice and stature. One of his most notable roles came within horror: the title role in Blacula (1972), for which he would reprise for the sequel a year later. Relating in all of this is American International Pictures, who distributed both Blacula and this film. Marshall reportedly was disappointed by the script's lessened focus on the spiritual aspects of the West Africa Yourbas (which he had suggested in the first place), with Girdler and Gordon Cornell Layne co-writing the film together.

So, coming on the heels of films inspired by horror movies like Blacula and Blackenstein, Abby proved to be quite a hit on release, making back its reported $100,000 budget with at least $4 million in box office sales, while Girdler would continue on to do numerous films in the decade that involved blaxploitation and/or horror. Of course, that is not all of the story. Abby quickly met an end to its theatrical release days when American International Pictures was sued by Warner Brothers because the studio believed that they had infringed on their film in terms of plot, which happened to be The Exorcist. Believe it or not, this was not the only time that Warner Brothers had targeted a film believed to have infringed on their film, since Beyond the Door (1974) was also targeted for its supposed similarities. The lawsuit drove AIP to take the film out of distribution (as AIP and WB apparently made a deal involving unfreezing revenue) and it would take until 2006 for there to be a release on home media, and the version I saw was one with plenty of grime to see in all of its 16mm glory (in other words, on certain Internet channels). Honestly, the lawsuit is absurd, because viewing Abby would reveal the obvious differences between the two. The Exorcist was a solemn, chilling film that took its time to develop terror with a child possessed (of course, I've only seen it once) in a house. 

Abby is a funky film that sets itself up with clunky exposition involving a fertility spirit, a mix of soul music to go alongside occasional subliminal shots of its demon that takes hold of a woman and leaves her craving folks across the town to terrorize in various ways, which climaxes with a fight in a bar. Without Marshall and a semi-interesting mish-mashed performance from Speed and voice artist Bob Holt, the film would collapse in on itself as a hilarious joke, honestly. There are quite a few scenes of clunky exposition, this much is for sure. From the opening involving students talking about the talents of our archeologist/priest right down to talk about just how Abby is so sweet (marriage counsellor, youth leader, AND working with the junior choir). But don't worry, you won't have to wait long for antics with a demon, whether involving trouble with a distracting knife or singing to a crowd of indifferent congregation members (okay, actually Speed did the song herself, but the editing doesn't help) to coughing/attacking fits that leave a few people gasping for air...and some of that is out of laughter, particularly with a chase sequence that starts with one carjacking that leads to another (from a reverend!). A climax involving a colorful triangle and foaming at the mouth with an exploding bar makes this seem like a film with confused inhibitions about exactly what it is: it certainly is more interesting when trying to focus on either spirituality within a game Marshall or the conflict between Carter and Speed, but its attempts at scares are no better than dressing up in a Halloween mask and going "BOO!" at them, and calling it an imitator of The Exorcist is generous at best. It might have been a move to try and bully a less prominent studio (or a ploy by AIP to get money), but I would at least say this is a film worth a curious glance, if only because it is interesting to see Marshall in a lead role alongside a moderate effort from others like Girdler in sweet deliverable trash horror cinema.

Next Time: Drop in for a laugh with Michael Schultz and a diverse group of characters in Car Wash (1976).

Overall, I give it 6 out of 10 stars.