FILM REVIEW | COFFY
photo manipulation by nacrowe
seriously, who doesn't love PAM GRIER?
in my opinion the BLAXPLOITATION films she starred during the 1970s (FOXY BROWN, SHEBA BABY) showcase the real american nightmare, empowered sexually liberated minority women who take charge and buck the power structures that hold their community back, structural racism and drug lords be damned.
my favorite of these films is director JACK HILL's genre-defining masterwork COFFY (AMERICAN INTERNATIONAL, 1973), which carries an almost LADY SNOWBLOOD-esque revenge plot as GRIER's protagonist seeks to kill a drug kingpin for allowing heroin to ruin her neighborhood and kill her younger sister. she does this by going deep undercover as a working girl and establishing relationships with all the inside players before making her move. GRIER is a tour-de-force whose character displays an emotional trajectory that allows the audience to understand her pain and how such governs her means of devouring her competitors through seduction. like a righteous femme fatale only in a very different political, cultural and racial context.
i find this film endlessly fascinating for its scope at addressing a contemporary societal ill when such was ignored or demonized in the wider WHITE media and political classes. i think QUENTIN TARANTINO must have felt similarly when he cast GRIER in JACKIE BROWN (MIRAMAX, 1997) over 20 years later in an update of her character of sorts. again, GRIER hasn't missed a step, only this time its corruption on a higher political level.
COFFY is worth your time. it is absolutely required viewing for anyone interested in cinema, period.
FILM REVIEW | FEMALE TROUBLE
photo manipulation by nacrowe
i am a total fanboy of DIVINE and JOHN WATERS.
i mean really. if you check out any of their trashy EXPLOITATION filmography from the 1970s, movies like PINK FLAMINGOS (DREAMLAND, 1972) and DESPERATE LIVING (DREAMLAND, 1977) or even more obscure earlier fare like MULTIPLE MANIACS (DREAMLAND, 1970) and MONDO TRASHO (DREAMLAND, 1969) you will not be disappointed.
my favorite out of the bunch is FEMALE TROUBLE (DREAMLAND, 1974) which depicts the life of a BALTIMORE teenager seeking attention throughout her life and ultimately commits murder for the sole motivation of becoming notorious.
for me this film is a bitter take on TABLOID culture in much the same way as BILLY WILDER's ACE IN THE HOLE (PARAMOUNT, 1951) eviscerated yellow journalism a generation before. WATERS saw the future of the AMERICAN SOUL and the lowest common denominator in cultural terms as the concept of infamy being a goal in and of itself predates today's online social media culture where people are famous for being famous and being "on brand." DIVINE is psychotic as all hell in this film and the DREAMLAND cast, as always, keep the film grounded in its debased underbelly like a more deranged and conked-out alternate versions of ANDY WARHOL's superstars.
the look, the acting, the humor and the caustic message about the nature of the media and the vacuous nature of seeking fame in this film is all textbook JOHN WATERS and is why FEMALE TROUBLE has been a touchstone of my movie-viewing habits since my teen years.
this film is required viewing in my opinion.
art by nacrowe
who doesnt love EXPLOITATION films?
i for one always appreciated their directness in selling you the base, lowest-common denominator entertainment based on sex, race and other issues deemed to taboo to be touched upon by the prudish gatekeepers of modern culture. RUSS MEYER's landmark FASTER PUSSYCAT! KILL! KILL! (RM FILMS, 1965) is an iconic underground film that follows three go-go dancers on a murder and kidnapping spree through the deserts of SOUTHERN CALIFORNIA.
this film has influenced countless films in its wake, most notably those where women use their appearances to switch the tables on gender roles and exploit their oppressors in the process. this plot is still mined to this day as seen most recently in HUSTLERS with JENNIFER LOPEZ and CARDI B, where MANHATTAN strippers exploit their WALL STREET patrons in the wake of the market collapse of 2008. it begs the question of who is exploiting who?
awesome, totally underrated film that everyone should view. can't say that for the rest of MEYER's output.