Life on the edge of a razor.
Above is a Japanese poster for the 1972 blaxploitation film Come Back Charleston Blue, starring Godfrey Cambridge and Raymond St. Jacques as the Harlem detectives Gravedigger Jones and Coffin Ed Johnson. It was the sequel to the highly successful Cotton Comes to Harlem. The plot deals with the return of a legendary vigilante named Charleston Blue, who killed with a blue steel straight razor and is believed by some to be responsible for a series of recent slayings aimed at the local drug trade. He's supposed to be dead, but his casket is empty and his collection of razors has gone missing. Is he really back from beyond? You'll have to watch the movie to find out. Reviews were mixed, but there are some thrills and laughs, there's good location filming around Harlem and environs pre-gentrification, and the soundtrack by Quincy Jones and Donny Hathaway is a nice bonus. All-in-all, a middling effort, but certainly not a waste of time. Come Back Charleston Blue first played in Japan today in 1973.
It's hard out there for a pimp.
The Mack is about pimping. Let's just get that out there. Those with twenty-first century sensibilities will probably hate the film on principle. But is there anything more to it than sexual exploitation? Well, it's an offering in the blaxploitation genre that deals with an ex-con's plan to rise to the top of the macking game in the city of Oakland. The main character, named Goldie, has a brother who intends to rid the streets of crime. Goldie's main antagonists are a pair of corrupt cops who see no difference between him and his brother. The subtext is interesting. Goldie and his brother represent opposite forms of direct engagement—one works to improve his environment while opposed by authorities who see political activism as a threat; the other works illegally to get ahead and get out while opposed by authorities charged with fighting crime.
The movie chooses as its backdrop one of the most activist cities in the U.S., with one of the most corrupt police forces. Both of these facts were true when The Mack was made and remain true today. For example, while Oakland police are tasked with preventing crime, they repeatedly and brazenly break the law, and have paid out more in civil damages than almost any police force in the nation. This dichotomy callsinto question whether the police actually exist for the good of the community at all, or for a more complex purpose—say to protect the interests of elites by both containing crime and hemming in the possibility of political empowerment. Actually, the question is rhetorical. We've been to many countries, and in all of them police suppress political activity among the underclass. So yeah, there's more to The Mack than just pimping.
The movie was actually inspired by the real life struggle between the Ward Brothers, who were leaders of Oakland's black underworld, and the Black Panthers. Both groups wanted to bring Oakland under their respective control for opposite reasons. Film critic Elvis Mitchell described The Mack succinctly in 2013, saying: “Do you become this horrible kind of mutation of free enterprise, or do you take the nationalist route and help your people?” But the Oakland police ultimately considered power achieved through crime and power achieved through politics to be equally unacceptable. And that may be the entire disturbing point of the film. The Mack premiered in the U.S. today in 1973, and the awesome poster was painted by Fred Pfeiffer.
The heat isn't coming from the fireplace.
Above, a photo of U.S. actress Vonetta McGee, who appeared in such films as The Eiger Sanction and Repo Man, seen here looking exceptionally lovely sometime in the early 1970s. She also appeared in several blaxploitation flicks, and since we've been screening those lately we'll doubtless be running into her later.
Don't hate the dealer. Hate the game.
Did you know the main character in Super Fly is named Priest? Over time he's become known as Superfly, but in the film the term comes up only once—when someone says to Priest, “You always got some super fly shit!” He's referring to cocaine. Priest is a drug dealer, but he wants out and will do whatever it takes to make that happen. This is one of the better blaxploitation flicks. Ron O'Neal's Priest is tough but three-dimensional, showing vulnerability, confusion, even desperation. Dynamic if uneven direction from Gordon Parks, Jr. and a propulsive soundtrack by Curtis Mayfield help put the whole concept over. In fact, after you watch the movie, you should listen to the album, particularly the sparkling, “Give Me Your Love,” which we think is one of the most immaculately constructed soul tunes ever written. Super Fly premiered in the U.S. in the summer of 1972 and opened in Japan today in 1973.
Jeanne Bell karate chops her way across Hong Kong.
T.N.T. Jackson, for which you see the U.S. promo poster above, is a mid-budget blaxploitation flick built around clumsy martial arts, a flimsy plot, and shoddy acting. But it has Jeanne Bell. Playboy magazine had made Bell a centerfold in 1969. From there she launched a movie career, with T.N.T. Jackson coming ninth in her filmography. She plays Diana “T.N.T.” Jackson, who learns that her brother was killed by Hong Kong drug dealers and seeks payback. While the plot is nothing special, Bell certainly is. She was twenty-five and wore a bouffant hair-do when she first appeared in Playboy; in T.N.T. she was thirty and had blossomed into an unforgettable beauty with a frosted afro, kicking and chopping her way across the movie screen. All the fight scenes are hilarious, with their cut-rate choreography and claw-handed posing, but they're fun to watch, especially the one in which she kicks the shit out of a bunch of guys while wearing only panties. That bit seems to us a clear homage to Reiko Ike's totally nude fight in 1973's Sex & Fury, another movie that surpasses its limitations by piling on style and attitude. Is T.N.T. Jackson actually good? No—but we bet it'll make you smile. It premiered in the U.S. today in 1974.
It's strong and bold and might be just the wake-up you need.
Coffy is not a movie we planned to write about, due to the fact that it's been covered by so many websites. But then we came across this French poster made for its release in Paris today in 1973—where it was called Coffy: la panthère noire de Harlem—and we changed our minds. The movie possibly falls into the category of those everyone has heard about but few have seen, so we gave it a run for the first time in some years. The story is straightforward—a teen girl is in the hospital suffering from the effects of an overdose, and her sister, played by Pam Grier, goes looking for revenge. She kills the dealer who sold heroin to her sister, but soon learns there's another dealer behind that one, and so forth. In a world that's corrupt to the core, revenge is a maze where the center is impossibly difficult to find.
Coffy isn't well acted, but those who go in expecting Oscar worthy performances are setting up false standards. Blaxploitation was about telling stories from a new point of view, one lacking in American cinema. Trying to round out a black cast, as well as find compelling black leads, meant taking chances and bringing novice performers into the fold. The message is what mattered in these movies, and the message was that something was seriously wrong in America. Those who paid attention learned one of the most basic lessons anyone can learn—your reality is just one of many. Other people live entirely different lives governed by different, equally valid truths. Mainstream Americans who understood this concept learned plenty from blaxploitation. Those who denied this most simple of life's facts learned nothing—and are the same people who today look at what happens in America's inner cities with bafflement or scathing contempt.
Coffy was really an envelope pushing film. We'll just highlight one scene to make that point. Pam Grier's title character has sex with her boyfriend then heads toward the bathroom. On the way there, but off-camera, we hear her say, “Oops! Oh, you shouldn't have made me laugh.” What do you supposed happened? Here's a hint—it involves spillage, and not from a glass. It may well have been the first movie ever to hint at post-coital drainage. Later it does another off-camera bit with oral sex when Grier pours wine in her boyfriend's lap and proceeds to clean it up. Coffy may not have been well acted, but it had moments of earthy realism that were almost microscopic in focus. You also get plenty of action and a fierce, single-minded heroine you can root for. Coffy opened in France today in 1973. Check out a rare U.S. promo poster for it here.
You know that whole forbidden fruit concept? I've never agreed with it.
Above, a nice shot of blaxploitation star Marilyn Joi, aka Tracy King, who appeared in notable efforts such as Black Samurai and the unforgettable Ilsa, Harem Keeper of the Oil Sheiks, but is probably best known as Cleopatra Schwartz from the mainstream comedy Kentucky Fried Movie. This photo appeared on the cover of Players magazine in 1980.
Hong Kong kidnappers have problems mastering possession, and so do the filmmakers.
If Tarantino likes it, it must be tops. At least that's the assumption some would make upon learning that 1976's Ebony, Ivory & Jade has Tarantino's stamp of approval. Well, despite the endorsement and status as a minor classic of the blaxploitation genre, the film isn't great. It has some highlights, including confidently staged action sequences and camerawork that does seem to have influenced Tarantino. But its failings are legion—bad script, wooden acting, and heavy duty crushed black levels that make the actors almost impossible to see in the night sequences. We'll give a pass on that last problem, because it could have happened during the video or DVD transfer.
We'll admit though, this flick is damned funny in parts—unintentionally so, foremost the character Stacy's beatdown of a bad guy who morphs into a dummy at the moment she hoists him overhead and helicopter spins him through a room divider. The basic idea of the film is also appealing—Hong Kong bad guys kidnap five female track stars for ransom, unaware that two of them happen to be martial arts experts that will cause no end of trouble once they untie themselves. Playboy playmate Rosanne Katon in the lead role is also a plus. But as blaxploitation, even a discernibly elevated budget doesn't lift the film above other entries in the genre.
As a side note, the above promo poster should help put to rest any idea that apostrophe illiteracy has something to do with modern education or the internet or whatever. It has always been a problem, and we see it all the time in vintage material. This particular failure to master the possessive form is pretty egregious, though. Yes, it's attached to a movie shot in the Philippines, but the error made it all the way through a phalanx of American writers, designers, pre-press workers, printers, and producers working in the U.S. of A. at—or at least for—Lawrence Woolner's Dimension Pictures. Pretty bad. Though as we've noted in the past, sometimes apostrophe placement can be legitimately tricky.
Hah hah—you can only wish you knew me.
Pam Grier was one of Pulp Intl.’s first femmes fatales so it seems only right to bring her back every once in a while. This shot of her appeared on the May 1975 cover of New York magazine and is probably one of the best images of her ever made. The accompanying text called her “a new kind of Hollywood star.” That was true of her and several other women who came up through the blaxploitation ranks, but Grier was really top of the heap—she was the best, the bravest, and by far the most famous. She's had steady success for more than forty years, but we really enjoy those old movies of hers, and this photo captures her at the peak of that period.
Grier reappears in her rightful place.
Remember the two excellent Italian posters for the 1974 swords-and-sandals/blaxploitation epic The Arena? Usually the American posters for films from this era compare unfavorably to the foreign versions, but in this case the U.S. promo is also very good. And as a bonus Grier actually gets to star on this one. On the Italian versions she was entirely whitewashed from one, and relegated to secondary status on the other. Not only that—on the text of both posters Italian actress Lucretia Love is given top billing, though she’s actually a supporting character in the film. We can only assume the distributors thought Italian audiences wouldn’t flock to cinemas to see a movie headlined by Grier, and dissed her twice over. Well, above we see her where she belongs.
The headlines that mattered yesteryear.
1973—Peter Dinsdale Commits First Arson
A fire at a house in Hull, England, kills a six year old boy and is believed to be an accident until it later is discovered to be a case of arson. It is the first of twenty-six deaths by fire caused over the next seven years by serial-arsonist Peter Dinsdale. Dinsdale is finally captured in 1981, pleads guilty to multiple manslaughter, and is detained indefinitely under Britain's Mental Health Act as a dangerous psychotic.
1944—G.I. Bill Goes into Effect
U.S. president Franklin D. Roosevelt signs the Servicemen's Readjustment Act into law. Commonly known as the G.I. Bill of Rights, or simply G.I. Bill, the grants toward college and vocational education, generous unemployment benefits, and low interest home and business loans the Bill provided to nearly ten million military veterans was one of the largest factors involved in building the vast American middle class of the 1950s and 1960s.
1940—Smedley Butler Dies
American general Smedley Butler dies. Butler had served in the Philippines, China, Central America, the Caribbean and France, and earned sixteen medals, five of which were for heroism. In 1934 he was approached by a group of wealthy industrialists wanting his help with a coup against President Franklin D. Roosevelt, and in 1935 he wrote the book War Is a Racket, explaining that, based upon his many firsthand observations, warfare is always wholly about greed and profit, and all other ascribed motives are simply fiction designed to deceive the public.
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