Foxy Brown.

Review #2353: Foxy Brown.

Cast: 

Pam Grier (Foxy Brown), Antonio Fargas (Lincoln "Link" Brown), Peter Brown (Stevie Elias), Kathryn Loder (Miss Katherine Wall), Terry Carter (Dalton Ford / Michael Anderson), Harry Holcombe (Judge Fenton), Sid Haig (Hays), Juanita Brown (Claudia), Bob Minor (Oscar), and Tony Giorgio (Eddie) Written and Directed by Jack Hill (#1654 - Blood Bath, #1740 - Spider Baby, and #2352 - Coffy)

Review: 

Sure, maybe one can't make a sequel to a successful hit, but they can sure make one that sounds right on the same wavelength. The resulting hit of Coffy made it easy to want to make another Grier movie involving action, albeit not as a sequel that Hill envisioned because American International Pictures apparently believed sequels did not do well with audiences.  Evidently, this was released by AIP as a double feature with Truck Turner. While it wasn't nearly as substantial a hit as Coffy (released thirteen months prior), it was generally well-liked enough and Grier continued her run in movies the following year with Sheba, Baby and Friday Foster. Evidently, Foxy Brown apparently became more of a cult curiosity than Coffy although Hill felt the earlier effort was better, particularly with the character he envisioned that could use their sexuality just as much as using down and dirty street fighting. Hill actually had two films released in 1974, with The Swinging Cheerleaders coming out a month after this movie; apparently, AIP treated Hill lousy enough to not even invite him to a screening of the film, which he shot in less than three weeks (the movie, which runs at 92 minutes, apparently was made on the same budget as Coffy at $500,000, albeit with a raise to both its director and star).

Admittedly, it is funny to make a movie that isn't quite a sequel while also not exactly having time to say the profession of the lead. She just kicks ass and seeks revenge against the scuzziness of the street (which even involved would-be politicians). Instead of a sister that fell to heroin addiction, now we have someone with a scuzzy brother and a dead government boyfriend who, interestingly enough, faces off against a couple involved in a drug/prostitute syndicate (strangely enough, it has a similar ending to the other movie in having a man get castrated). At least you get flashier wardrobe from Grier to go with plenty of violence and skin? I have to agree with Hill that Coffy was the better of the two movies, mainly because of the actual shock value that comes in a kickass lead that doesn't need to be a karate expert but instead is, well, Pam Grier. Sure, she may not get much to actually do that is particularly different from before with a little less guilt in the whole "vengeance" thing, but she still commands the screen just as well as before for obvious reasons. It is clear empowerment, and one is having fun while doing it, what more could you want? This actually was the last (of three) movies where Loder appeared, as she died of diabetes at the age of 38 in 1978. She grips the role with the right amount of chewing, at least compared with Brown (mostly known for Western roles), who dawdles a bit in showing menace. Haig actually appeared in both this and Coffy (where he played a heavy pretty well), and while he may have small time to do comedy, it works out fine I suppose. It definitely tries to up the ante in sheer audacity, whether that means a barroom fight or our lead lighting a farm (and two people) on fire after being sexually assaulted, or the appeal to a "neighborhood committee" to not only get revenge but to, well, play with a knife on a man's lower section. As a whole, it definitely is a slicker movie than Coffy that for better or worse does exactly what you would expect in shameless entertainment that will likely deliver the goods for what you want from a movie of its time.

Overall, I give it 7 out of 10 stars.

Coffy.

Review #2352: Coffy.

Cast:

Pam Grier (Nurse Flower Child "Coffy" Coffin), Booker Bradshaw (Howard Brunswick), Robert DoQui (George "King George"), William Elliott (Officer Carter), Allan Arbus (Arturo Vitroni), Sid Haig (Omar), Barry Cahill (Officer McHenry), Lee de Broux (Officer Nick), Ruben Moreno (Captain Reuben Ramos), Lisa Farringer (Jeri), and Carol Locatell (Priscilla) Written and Directed by Jack Hill (#1654 - Blood Bath and #1740 - Spider Baby)

Review: 

It probably has been long enough to finally cover a Pam Grier movie, isn't it? Well, I figured it would be best to go with the one with the catchy enough title, which was in the middle of Grier's tenure with American International Pictures. Born in Winston-Salem, North Carolina, Grier got involved in stage productions as a teenager before going to Los Angeles to work the switchboard at American International Pictures. Anybody who makes their debut (in a bit role) with Beyond the Valley of the Dolls (1970) clearly has good fortune on their side. Jack Hill soon casted her among the leads for New World Pictures' The Big Doll House (1971) when he liked what he heard and saw when she participated in a "cattle call" for actors sent to read for parts (he has been quoted as citing her "authority"). The movie was a hit, and Grier was soon cast in the not-quite sequel The Big Bird Cage (1972), which was sandwiched between a handful of supporting roles. Coffy came about because Larry Gordon lost the rights to the film Cleopatra Jones (1973) and AIP wanted to make a movie to beat it to the market. This one was released in May, two months before the release of Cleopatra Jones. This would be the first non-prison lead movie for Grier that would lead to a handful of further feature roles for the remainder of the 1970s. While her leading roles dwindled in the next couple of years, there have still been enough highlights for a lifetime, as evidenced by Jackie Brown (1997). This was the third of four movies made with Hill. They returned to make Foxy Brown (1974), one that Hill had less control over as a movie that was initially aimed to be a follow-up to Coffy.

I find myself wondering just how much fun one can have with movies of this time period, one that dance the line between timeliness and allure with their style and character presence. As it turned out, there is plenty of each to be found with this movie, which manages to excel in general excitement with a snappy lead that exudes charm and style from the get-go while managing to have a tight conviction in showing a system in all of its bleak facets that would make one go for the idea of trying to strike back at it. It is lurid enough to actually make a quality vigilante movie for 90 minutes of sheer pulp that can't just be labeled as sleazy. Unlike certain movies of its time, you've got a lead who isn't a certain type of expert or playing it for humor but instead one wrapped in the terrors of what they believe themselves is important to do versus the conflict in seeing it actually play out. So yes, Grier kicks ass and looks good doing it, but there is more to her in terms of timing and conscience for how she handles herself that is quite curious to see play out on screen. It just so happens the supporting cast around her is scuzzy enough to make the experience worth seeing vigilance play out all the way to the grisly end (this is a movie that has a character killed by being dragged around with a rope before saving the gnarly-ness for last: shotgun to the groin). It isn't even a movie that wraps itself up in a neat bow, because at the end of the day, the disgusting drug trade and other purveyors of the sewer known as crime will still be around somewhere the law can't quite reach (whether by chance or deliberately) but so it goes. As a whole, it is pretty easy to see how Grier became such a star to see and hear with how much she is wrapped up in making this role more than just straight exploitation by playing it as an avenging angel with resilience that is devastatingly breathtaking in more ways than one.

Overall, I give it 8 out of 10 stars.

Spider Baby.

Review #1740: Spider Baby.

Cast: 

Lon Chaney Jr. (Bruno), Carol Ohmart (Emily), Quinn Redeker (Peter), Beverly Washburn (Elizabeth), Jill Banner (Virginia), Sid Haig (Ralph), Mary Mitchel (Ann), Karl Schanzer (Schlocker), and Mantan Moreland (Messenger) Written and Directed by Jack Hill (#1654 - Blood Bath)

Review: 

"It was the first film I could really call mine. It was the only time I actually did a film that wasn't an assignment."

If you remember, the first film released with Hill's name as director was Mondo Keyhole (1966). Of course, there is a bit more to that story, since he came from the (unofficial) school of Roger Corman in the 1960s, and his first key task would be to shoot 20 minutes to be added on The Wasp Woman (1959) for syndication in television, which occurred in 1962. The following year, he would be given the dubious task of being the fourth director asked by Corman to direct scenes for The Terror (1963), which also came with re-writing the script (of course, he wasn't given credit for directing, but neither were the others). Gil Lasky and Paul Monka had a bunch of real estate profits they wanted to invest into a horror film, and they happened to have met Karl Schanzer, who suggested that Hill would be a good choice. 12 days of shooting happened in Los Angeles in August of 1964, but fate dealt a cruel hand when a market crash held up all of Lasky and Monka's assets. David L. Hewitt acquired the film years later and re-titled the film while releasing it alongside Dr. Terror's Gallery of Horrors (also just known as Gallery of Horror). For three decades, the movie's original negative was lost (with middling VHS versions existing in the 1990s, remember) before being acquired by Hill, who had a clean transfer done along with adding a scene deleted from release that he would call his "Director's Cut". 

It sure is a shame that the film did not receive much attention in its time, because it certainly has an interesting place among the line of horror for all of the aspects that would play prominent in more noted films in the half-century since its release. I think there certainly is a line that can be drawn through the timeline that could go from The Old Dark House (1932) to this film to others like The Texas Chain Saw Massacre (1974) and House of 1000 Corpses (2003) with their own type of eccentric characters that happen to live in an infested house of murder and other such things. Of course, one involves a chain saw, the other involves rock music directors, and the other is whatever it is...Spider Baby is a creepy movie that holds its own when it comes to vicious goofiness, one that is disturbing in the chuckles drawn, and one will likely be drawn to this from the opening title song (composed by Ronald Stein while sung by Lon Chaney Jr himself, who apparently had a good time singing about spiders, ghouls, and other stuff). Basically, it is a film for the ghoulish at heart, and I readily enjoyed its 81 minute run-time in all the little weird things it ends up doing in building up its ultimate punch-line by the end that merits curiosity. 

This was released near the end of Chaney's career, which had gone through ups and downs in horror and character actor roles (film and television), but it can be safely said that this is definitely one of his best roles. He goes after the role with the right sense of dedicated warmth and edge that comes from contrasting all the strange kooks that inhabit both sides of this on-screen family, one that still has the timing necessary to make the material work with fondness; this is best signified by the scene between Chaney, Washburn, and Schanzer talking about staying together after the discovery of a dead man and the promises one has to keep (while the eyes start to water a bit). Redeker and Mitchel play the "normal" folks (framing the film for its beginning and end), while Ohmart jots in with assertiveness. One can't forget about the trio of eccentrics. Haig doesn't have much to say (as part of the plot, since the older one gets in the family, the less they say...), but he does well with a hodgepodge of moments that goes for weird within being a strong mute that likes to look at everybody (to varying results...). This was the debut of Banner (who had graduated Hollywood Professional School in 1964) in what became her most noted role before her untimely death in 1982. She plays the title character (i.e. someone who likes to play a game called "spider baby", as seen in the opening scene with Moreland). She does pretty well here in generating playful terror, which includes plenty of shots involving spiders in some way (such as tying someone up). Washburn is most likely known for both her appearances in Old Yeller (1957) and this film (having appeared sporadically in TV and film as a child). She contributes to the savagery in her own potent awareness that seems innocent like the other two on the surface that help the movie stay on its feet. Schanzer finishes it off with sniveling potency. As a whole, the movie relies on generating terror with atmosphere in terrorizing chuckles without needing overt effects or bloody gore, which results in a curious charmer that likely will reward folks who see it again and again. Hill would go on to explore further in exploitation films in the next couple of years, but Spider Baby has managed to find a place within his line of work worth checking out.

Overall, I give it 8 out of 10 stars.

Next Time: Dr. Phibes Rises Again 

Blood Bath.

Review #1654: Blood Bath.

Cast:

William Campbell (Antonio Sordi), Karl Schanzer (Max), Lori Saunders (Dorian / Meliza), Sandra Knight (Donna Allen), Marissa Mathes (Daisy Allen), Sid Haig (The Tall Beatnik), Jonathan Haze (A Beatnik), Fred Thompson (Another Beatnik), Biff Elliot (Cafe Manager), and David Ackles (Carousel Operator) Written and Directed by Jack Hill and Stephanie Rothman.

Review:

What we have here is an interesting tale of two directors, each in their own beginnings of filmmaking. Born in New Jersey but raised in California, Stephanie Rothman did study in sociology with the University of California (Berkeley), but her focus to film came with a viewing of The Seventh Seal (1957). She subsequently did study with the University of Southern California in filmmaking, and she would earn a fellowship by the Directors Guild of America with her student film directing. She was hired by Roger Corman in 1964 to work as his assistant, and she would do a variety of tasks on films that could range from writing new scenes to final cut edits that had to be done on a set time and budget. Corman was ultimately the first and only mentor she would have when it came to filmmaking. Rothman would direct her first solo effort with It's a Bikini World (1967, although shot two years earlier) and follow it up with five further films in the next few years; her most noted film was The Student Nurses (1970), which ended up inspiring New World Pictures to make subsequent efforts within depicting nurses. Rothman's career stalled in 1974. Although she tried to find work within television and script treatments with her husband, no sales resulted from these efforts (her work in exploitation, which gave her a chance to direct, ended up as a stigma against her when trying to do work away from it). A decade of languishing misses and rejection of going back to exploitation led to her retirement, although she did find work to live on within real estate investment. On the other side, California native Jack Hill started an interest in film within study at UCLA's film school. One of his mentors would be Dorothy Arzner, and one of his classmates was Francis Ford Coppola, incidentally. Hill did a variety of side-work in his rise to the industry with Roger Corman that ranged from editing to contribution within writing/directing, such as shooting a 20-minute prologue to a TV version of The Wasp Woman (1959) or doing re-writes/direction for The Terror (1963). Hill made his formal directing debut with Mondo Keyhole (1966), which he co-directed with John Lamb. Ultimately, Hill would make fifteen films over the course of sixteen years, which ranged from horror with films like Spider Baby to lesser-known works such as The Incredible Invasion (1971, the last of four that Hill directed the US sequences in USA-Mexico productions that all had Boris Karloff as star before his death) and blaxploitation such as Coffy (1973).

Okay, history time. It all started with a film that was slated to be released in Yugoslavia that was named Operacija Ticijan [Operation Titian] (1963), starring William Campbell, Rade Markovic, and Patrick Magee. It was a thriller film involving a stolen painting, and Roger Corman (on vacation in Europe at the time) ended up being a silent partner in the hopes that he could acquire it and Americanize the feature for release later. Francis Ford Coppola was behind script supervision, interestingly enough. However, the final result was something not quite suitable for the drive-in circuit. He commissioned a re-cut and re-scored edit, which was known as Portrait in Terror. Somehow, it did not satisfy Corman, although a re-edited version of that cut would find its way into television; enter Hill, who was tasked to take the footage and write/shoot new material to go on top of what could be used with Campbell in tow (who reportedly got a nice check for his services, which angered Corman and makes me smirk a little), which turned a spy thriller into a horror film. Somehow, this version (known as Blood Bath) was still not suitable enough for Corman. Two years later, Corman wanted to try again, so he hired Rothman to make her own edits in the story while shooting new footage. So now a film that had a killer artist was changed to a killer artist vampire. To add on to this, Campbell did not participate in the re-shoots, so now Rothman had a film with a vampire lead that would have to re-cast its main lead for the vampire scenes (an actor that has not been identified). Corman at last found something worth releasing despite a film with two directors/writers that never even met and they all lived happily...nope, the story isn't over. There is yet one more version of this film that is called Track of the Vampire, which included just a little more footage to play on television (Rothman/Hill's film lasted 69 minutes). Funny enough, you probably wouldn't even know Corman's fingerprints are there at all, because he doesn't even have an on-screen credit. Rothman would later call it a "mish-mosh", while Hill thought it was "totally ruined" by the changes made to his original cut.

So...we have a Yugoslavian film that got edited / re-shot into two television films AND two feature films, and the one that we are focusing on today is the one with Rothman & Hill on the credit (strangely enough, the one cut entirely by Hill is missing, but all the other ones are there). If one intends to watch the film, the best version to watch it would be a recent release that includes a video essay by Tim Lucas that includes detail of the whole saga of what became Blood Bath with interviews that likely make for an interesting hour to listen to (a full detail also is found with a series of articles done in Video Watchdog). Of course I forgot to mention that in this portrait of a killer artist, there are also beatniks included within the process, so one really seems to be in for a familiar rendition of A Bucket of Blood. Honestly, the beatnik stuff seemed better the first time around, what with its rendition of "beatnik slang" alongside its legend about vampire artists; my favorite head-slapping moment is someone mentioning to Knight's character about a tower and the legend having "peculiar things" happening before telling them to find it for themselves because they have their own problems (that's one way to inspire someone to read up on vampires and say exposition). Hill definitely had more of the prints involved when it comes to matching his horror type over Rothman's more conscious style in women's films (although both obviously were cut on the cloth of cheap filmmaking). Trying to guess who made what can be a doozy, but just know that the film probably didn't make any more sense when it was just Hill at the helm...of shooting/re-writes - the fact that it is only an hour long might come from the fact that the seams would probably have snapped if one tried to put more logic if it lasted longer than that. In other words, the only thing to say is that the history behind its making is far more efficient than the actual result - a mess. An amusing mess with curious moments, but a mess. Campbell is a capable guy, but he can only do so much with a role that is bargain-bin killer at best, and the fact that there is a different actor in the terror scenes dilutes credibility in the same way one would see in a creature feature where someone wears a weird costume with a lack of time to act (so The Man from Planet X, but not as good). It all goes on how one views the death scenes, which can range from a decent sequence involving a friendly conversation leading to a cleaver...to someone being chased into a pool and drowned (for some reason). The fact that two of the actresses in the film look similar to each other at any rate makes this an even sillier affair. The other actors act as one could expect from patchwork, which results in distinct levels of mediocrity, with the beatnik aspects having that middling feeling of semi-seriousness that one could only bear in irony drenched in insomnia. At least one could give credit to folks like Haig (who had starred in one of Hill's short films) for not wilting like a confused cat (despite having a conflict of timing that means there are scenes with/without a beard). Saunders is okay, but the focus is technically more on Knight before we are baited and switched on who the focus is (not that it matters anyway, since one can barely make head or tails about who or what matters in the first place in plot). Schanzer is the bare minimum for folks to focus on, seeming like an abstract of a lead hero than anything. For a film with a bloody title, the count of four is probably more about what could be salvaged than any real sense of terror - it is a jumble, where the vampire twist borders on the idea that you the viewer are going to buy into a deranged descendant of a vampire that happens to change his face before turning them into wax for art...which then turn on him for the climax. Rothman and Hill's assembly of footage into what was one film into four others is a curious tale, but for a movie it is easily too average for its own good. At least Rothman and Hill can each say they went on to better things in filmmaking.

Next Time: On the shortlist a few months ago, now seems like a good time to reach out for Daisies [Sedmikrásky] (1966).

Overall, I give it 6 out of 10 stars.