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.

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.