| Vintage Pulp | Nov 10 2010 |
Unholy Rollers never quite generates enough momentum.
What a difference four years makes. Talent-wise, the Claudia Jennings from the 1972 rags to riches flick Unholy Rollers is not remotely in the same league as the one from 1976’s Dynamite Women, which we discussed here. If Jennings ever had acting lessons, she must have driven to the first one ten minutes after Unholy Rollers wrapped. Some difficulties stem from poor scripting, editing and directing, but those problems take a backseat to the fact that Jennings simply hadn’t had enough dramatic training when she starred here. We recommend this one only for fans of Jennings and/or roller derby. Unholy Rollers premiered twenty-nine years ago today, and above we have probably the best part of it—the kick-ass promo poster painted by Aller, aka Carlo Alessandrini, for the movie's Italian run.
ItalyUna ragazza violentaUnholy RollersDynamite WomenClaudia JenningsRoberta CollinsAllerCarlo Alessandriniposter artcinemamovie review
| Vintage Pulp | Jul 22 2010 |
Nice girls don't explode.
There are quite a few internet cults out there, so when we watched Dynamite Women, aka The Great Texas Dynamite Chase, we were well aware that ex-Playboy Playmate Claudia Jennings had a devoted online following. But we were skeptical. You see, Playboy scours the world for women who have a modicum of talent and are willing to strip for the magazine. That combination is rare, and when Playboy finds it their publicity juggernaut heaves into high gear. That’s why purely marginal talents like Anna Nicole Smith, Dorothy Stratten, and Jenny McCarthy were touted as the next big thing. In a sense, the magazine is continually chasing the ghost of Marilyn Monroe, their first centerfold, who went on to become a huge star and an unending source of free publicity. As the eternal search for another Monroe-like talent continues, the magazine gives its covers to declining semi-celebrities in an effort to generate both easy sales and maintain some measure of Hollywood credibility. Thus we’re treated to the sad sight of Lindsay Lohan, Heidi Montag and others posing for the magazine, and sometimes doing so without even removing their clothes—which more than anything else makes abundantly clear that Playboy is devoted more to publicity than to eroticism.
Thus watching Claudia Jennings in Dynamite Women is a surprise. Despite the hype about her beauty, you would never think—initially at least—that she could be a centerfold. With her long nose, sharp chin and expansive forehead, she looks more like the type you’d find serving burgers in a small town diner. But the more you observe, the more you’re drawn to her. The smile, the attitude, and the big, expressive eyes begin to weave a spell. While Dynamite Women’s tale of two female bank robbers isn’t Oscar material, the script does give Jennings a lot to work with—she’s allowed to portray a wide range of emotions, is asked to get
physical, and does well with both. As in other counterculture films, Jennings’ character soon finds herself in way too deep as the police pick up her trail. She wants to stop robbing banks, but of course needs one more big score to get away clean. In the end she and her partner Ellie-Jo (played by Jocelyn Jones, who resembles Jennings so strongly they could be sisters) must somehow survive a final stand-off against the cops if they hope to escape to Mexico.
physical, and does well with both. As in other counterculture films, Jennings’ character soon finds herself in way too deep as the police pick up her trail. She wants to stop robbing banks, but of course needs one more big score to get away clean. In the end she and her partner Ellie-Jo (played by Jocelyn Jones, who resembles Jennings so strongly they could be sisters) must somehow survive a final stand-off against the cops if they hope to escape to Mexico.It’s reasonable to assume Claudia Jennings would never have gotten a break in Hollywood if not for her Playboy appearances, but in at least one case—trying out for a role on Charlie’s Angels—she was passed over because of her nude modeling. Jennings never got the chance to prove one way or the other whether it was her talent or Playboy’s backing that sustained her career because, sadly, she was killed in an automobile accident in October 1979, at the age of twenty-nine. She had appeared in
eighteen movies, including cult favorites Gator Bait and Deathsport, but had never been given a chance to shine in a truly important role. Dynamite Women might be the closest. While not great, it is entertaining, and by the end, we understood why Jennings has an internet cult. Based on what we’ve seen, she deserves one.
eighteen movies, including cult favorites Gator Bait and Deathsport, but had never been given a chance to shine in a truly important role. Dynamite Women might be the closest. While not great, it is entertaining, and by the end, we understood why Jennings has an internet cult. Based on what we’ve seen, she deserves one.PlayboyDynamite WomenThe Great Texas Dynamite Chase'Gator BaitDeathsportClaudia JenningsJocelyn Jonesposter artcinemamovie review
