Vintage Pulp Dec 19 2020
110 PERCENT
Anthony Quinn and Yaphet Kotto give their all and then some in hard luck crime thriller.


Across 110th Street premiered today in 1972, which makes it one of the early arrivals in the blaxploitation wave that was sweeping American b-cinema. With its ample budget and its well established headliner in Anthony Quinn, you could make the case that it isn't fully part of the genre, but we think it fits, even if it's atypical. Outlier or not, you'll see several faces in this that would soon become well known in blaxploitation, and you'll also see Burt Young, later of Rocky and Chinatown.
 
Plotwise, the movie centers on odd couple cops—old school racist Quinn and college educated reformist Yaphet Kotto—thrown together à la In the Heat of the Night to solve an NYC murder/robbery. As familiar as this oil vs. water dynamic may be, the movie still comes together in exciting fashion thanks to the way it tracks the robbers' storylines. They're a trio of amateurs who ripped off the Mafia for $300,000 and now are being hunted by both crooks and cops. Quinn and Kotto must find these thieves before the Mafia turns Harlem into a war zone.
 
When the film was released it was criticized for its violence and bitter racial subtext, but upsetting the herd is one of the things it tries to achieve. And while it may not appeal to people's better angels, it's quite interesting, with the grit of Wally Ferris's otherwise radically altered source novel left intact, and the central metaphor embodied in the title—that of which lines will be crossed and what the consequences will be—deftly observed. Across 110th Street is rough stuff, but well worth a watch.

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Vintage Pulp Jun 26 2018
RUNAWAY TRUCK
Get in his way and he'll roll right over you.


The movie Truck Turner was originally written to star Lee Marvin, Robert Mitchum, or Ernest Borgnine, but none of them were available. American International Pictures exec Larry Gordon reportedly said, “Well, we can't get any of them so now it's a black picture.” Marvin, Mitchum, and Borgnine were lucky they dodged this Truck. Isaac Hayes was signed up and he plays an L.A. bounty hunter who chases down a pimp named Gator only to end up pitted against a powerful madame named Dorinda. The movie is poorly put together, which you wouldn't guess from looking at its scores on sites like IMDB, where raters give it a 7.0. But we suspect those ratings derive from copious action and an amusingly bad script, particularly co-star Nichelle Nichols' tour de force segment in which, as Dorinda, she parades her whores before a group of pimps and describes their assets in a colorful monologue that's possibly the funniest moment from any blaxploitation movie. Here it is:

Gentlemen, this is my family. These all prime cut bitches. $238,000 worth of dynamite. It's Fort Knox in panties. Candy did seventeen thousand last year. Velvet, Miss Sophisticate, did twenty. Used to be a Paris model. Jess and Annette each did twenty-two five. Show 'em your wares, bitch. [bitch licks lips, strikes a pose] See what you can get if you're good? That's Turnpike. She did twenty-six five. She's called Turnpike ’cause you gotta pay to get on and pay to get off. China, come here, baby. China did twenty-nine. Sweet piece a Oriental meat. Mmm, mmm, mmm. This is Frenchy. Gator used to call her Boeing 747. Show 'em why, bitch. [bitch shimmies] She did twenty-seven five. And that's sweet Annette. Show 'em that smile, you sweet thing. She did thirty thou last year. And where's my baby? That's Taffy. This bitch grossed thirty-seven thousand five hundred dollars working part time. Shit, her clients think she's too good to fuck. They call her Colonel Sanders because she's [bitch licks fingers] finger lickin' good.”

So that's pretty funny, in a horrible, un-2018 kind of way. The outtakes must have been uproarious. Nichols knocks this bit out of the park like a hanging curveball because she can act (in fact, watching how she makes those words sparkle is a clinic on the wide gap between screenwriting and an actor's interpretation). Yaphet Kotto as the pimp Harvard Blue makes his role work because he can act too. But nobody else can. Luckily, as action eventually overtakes dialogue matters improve considerably, with the last third of the movie developing enough momentum to sustain viewer interest. There's one other asset too—Hayes' groovy soundtrack. But you don't have to watch the movie to enjoy that, or Nichols' monologue, which you can watch at this YouTube link while it lasts. It starts about forty seconds in. Otherwise, we recommend giving Truck Turner a pass unless your sense of humor is—like ours—inclusive of semi-inept Hollywood obscurities. If that's the case, roll on. Truck Turner premiered in the U.S. in 1974.

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Vintage Pulp Dec 25 2017
FOSTER CARE
Grier tries to foil an assassination plot.


It's Christmas day, and what is the main thing everyone does today? They go overboard. So in that vein we have more posts for you than you could have rightly expected, though we'll admit we wrote them in advance and right now we're nowhere near a computer. We're starting the X-mas treats with this vintage poster for the Pam Grier blaxploitation flick Friday Foster, a film that opened in U.S. today in 1975. After successes with Coffy, Foxy Brown, et al, American International Pictures steered Pam a bit more mainstream with the PG rated Sheba, Baby and learned from that mistake. So they turned the heat back up, scheduled a Christmas release date, and gave Grier fans a movie with twice the action, twice the humor, and twice the tongue-in-cheek factor as usual, plus three steamy Grier nude scenes rather than the usual two.

Grier plays a photo-journalist who tries to get a sneaky paparazzi shot of a reclusive millionaire only to find herself photographing an assassination attempt-turned-bloodbath. While American International kicked things up a notch, the customary Grier grit is missing, as too many wisecracks and camp moments leave the film without any heft. It almost seems as if, with a full blown international star on its hands and costs rising, American International decided to cut corners in pre-production. Script-wise Friday Foster is too formulaic and self-conscious. Soundtrack-wise, instead of songs performed by a viable R&B artist, it has cheeseball wacka wacka interstitial music, with chick singers trilling, “Hey Friday, whatcha doin' girl, hey, whatcha doin' girl whatcha doin'.” Direction-wise, four-time Grier collaborator Jack Hill has been tossed in favor of Arthur Marks, who came up directing episodes of the television show Perry Mason.

Friday Foster was Grier's last go-round with American International, and a good thing, because somebody forgot she became popular playing a streetwise, ass-kicking, So-Cal soul sister. Her turn as a middle-class photo-journalist might have worked, but not with the support she needed chopped from under her. American International wanted to mainstream her, except it had no idea how to do it. But Grier's still Grier, and even stuck in what feels like a washed out version of her better films, she remains as watchable as any star of her era. After another couple of years the work would come in spurts, a small part here, a television show there, an occasional lead role, yet bit by bit, appearance by appearance, Grier would stitch together a career spanning four decades and counting. Friday Foster is isn't the best entry on her résumé, but even midding Grier is worthwhile Grier.

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Vintage Pulp Jan 27 2017
THE WORKING CLASS
Just being able to survive feels like success.


Tonight the Noir City Film Festival is screening the urban drama Blue Collar, possibly the best film on the ten-day slate. Richard Pryor, Harvey Keitel, and the underrated but indispensable Yaphet Kotto star, but this is Pryor's show, his star turn. A trio of Detroit auto workers are driven by financial desperation to rob their own union hall. They end up netting three-hundred dollars. Trouble is the union, seeking insurance money, claims it was twenty thousand. The organized crime guy who backed the job isn't interested in stories about a three hundred dollar take—he's owed ten percent and that's two grand. But there's hope—the robbery also netted a notebook filled with information on illegal loans, and if Pryor and company can sell it maybe they can come out on top after all. But just how likely do you suppose that is?

Blue Collar is a brilliant work of art. Cinematic maverick Paul Schrader directed it, operating in a gritty milieu that would become his trademark. But the pressurized lives of the working class heroes are truly brought to life by the cast. Keitel studied under Stella Adler and Lee Strasberg, as well as at the HB Studio, while Kotto is a guy who studied at the Actors Mobile Theater Studio and made his professional acting debut in Othello, but Pryor the stand-up comic outacted them both, using self-contained fury, razor sharp humor, and just the right amount of improvisation. The man was a once-in-lifetime talent. His comedy was fused with desperation and pain, but Hollywood tried to harness the funny Pryor and jettison the rest. It was like removing his heart. He truly shone only in serious films, where he would break high tension with moments of humanizing comedy. Blue Collar was the best of the lot.
 
By today's movie standards a couple of thousand dollars hardly seems like much to fret over. Audiences are used to crime films dealing with millions. But the small amounts here make the movie feel real. A 2016 study showed that half of adult Americans would not be able to come up with $400 in an emergency—they would have to sell something, borrow money, or not pay. Back in 1978, when Blue Collar wasmade, real wages in the U.S. were higher than they are now, so the movie depicts travails among working class people who were better off than working class people are today. Let that sink in. We think this is a perfect movie to show in San Francisco in 2017, a city overrun by tech workers contentedly pushing longtime residents out. The movie won't change anything in the city. But it will be remembered by the ticketholders at the screening.

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History Rewind
The headlines that mattered yesteryear.
April 21
1918—The Red Baron Is Shot Down
German WWI fighter ace Manfred von Richthofen, better known as The Red Baron, sustains a fatal wound while flying over Vaux sur Somme in France. Von Richthofen, shot through the heart, manages a hasty emergency landing before dying in the cockpit of his plane. His last word, according to one witness, is "Kaputt." The Red Baron was the most successful flying ace during the war, having shot down at least 80 enemy airplanes.
1964—Satellite Spreads Radioactivity
An American-made Transit satellite, which had been designed to track submarines, fails to reach orbit after launch and disperses its highly radioactive two pound plutonium power source over a wide area as it breaks up re-entering the atmosphere.
April 20
1939—Holiday Records Strange Fruit
American blues and jazz singer Billie Holiday records "Strange Fruit", which is considered to be the first civil rights song. It began as a poem written by Abel Meeropol, which he later set to music and performed live with his wife Laura Duncan. The song became a Holiday standard immediately after she recorded it, and it remains one of the most highly regarded pieces of music in American history.
April 19
1927—Mae West Sentenced to Jail
American actress and playwright Mae West is sentenced to ten days in jail for obscenity for the content of her play Sex. The trial occurred even though the play had run for a year and had been seen by 325,000 people. However West's considerable popularity, already based on her risque image, only increased due to the controversy.
1971—Manson Sentenced to Death
In the U.S, cult leader Charles Manson is sentenced to death for inciting the murders of Sharon Tate and several other people. Three accomplices, who had actually done the killing, were also sentenced to death, but the state of California abolished capital punishment in 1972 and neither they nor Manson were ever actually executed.
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