EXPLOITATION PROCLAMATION: ROUND 1
Exploitation films were most alive and well throughout the late 60s on through to the mid 80s. It’s hard to describe just what makes an exploitation film outside of the obvious boobs, bullets and cheese, but if you’re good you can spot one when you see the cover, or read the title. The five best ways to know if you’ve spotted one?
1. It’s on a low budget. Like, say, your last minimum wage paycheck. For ten hours of work.
2. "Hey, wanna be in a picture?" was a phrase that most all of the "actors" appearing in these films heard.
3. It has a good, often funky or soulful, soundtrack.
4. People will die. Usually it’d be disturbing, but mostly it’s just funny here.
5. Blood is the color of rainbow red.
And without further ado...
Shaft (1971, USA, dir. Gordon Parks)
Category: Blacksploitation
The most well known of all blacksploitation films is a fine choice, I think, to begin the festivities on the right note. As I discovered, the flick is most notable for its hot, smokin’ Isaac Hayes soundtrack as opposed to the actual movie itself. It’s really not very good at all, and not in a way that MAKES it good like most of these exploitive tales. Richard Roundtree isn’t exactly the best leading man, nor the most believable hardass, so none of it feels authentic (or misguided) enough to be memorable. It’s so middle of the road and bland! I know for a FACT that I’ll be watching more notable entries into the genre than this one. It’s almost too classy! Shaft does get to sleep with at least two women, one of which is white, and he treats them like objects, so points are to be awarded...but why not five white women at once??? And where was Samuel L Jackson?????????? Disappointing for a film whose theme song is so infamous.
DOES WHITEY GET IT?
Yeah, but death by a hail of machine gun fire was the best that John Shaft could do? HIS NAME IS PHALLIC FOR GOD’S SAKE!
CHOICE CUT
Shaft: I just said up yours, baby.
Foxy Brown (1974, USA, dir. Jack Hill)
Category: Blacksploitation
The white devils that Pamela Greer takes on after they kill her lover are so very evil! They drug her! They beat her! They’re so evil, in fact, that when Foxy shoots a man in the head at the end of the film, HE DOESN’T DIE. HE JUST STANDS THERE. She has to shoot him in the head again to seal that deal. That’s some evil honky action! This was much better than Shaft if only because it doesn’t take itself nearly as seriously. Ms.Greer doesn't feel like showing off those massive juggs, so she has her man hide them in his hands for the duration of their brief sex scene. See, Foxy is a classy dame, she's just pushed over the edge and has to take care of business. This doesn’t REALLY explain the poorly choreographed, massive catfight at a bar later in the film, but that bitch is angry, and some honky was steppin’ up. What’s she to do??? Cut off a penis, and put it in a jar, that’s what. Blacksploitation has done me proud this time.
DOES WHITEY GET IT?
Oh yes. Whitey gets it GOOD. Death by plane wing/propeller was my favorite of the bunch, though that double head shot was a prize in and of itself.
CHOICE CUT
Bar Bitch: Listen skinny, before you start talkin’ tough, I’d better warn you that I’ve got a black belt in karate, so why don’t you get outta here while you’ve still got some teeth in that ugly face?
(Foxy lays her out with a barstool)
Pam Greer: And I’ve got my blackbelt in barstools!
Because this is Brian DePalma, it’s kinda hard to classify this in the same realm as exploitation. DePalma, as you should know, exudes a glossy classiness that is not unlike Hitchcock...if Hitchcock decided to be excessive. Granted, DePalma has had much more exploitive flicks than this, but I’d yet to see this one. It’s a murder mystery that twists and turns until the very end, when you’re still kinda confused. This is DePalma’s early work, and from the classic score to the trippy visuals, it’s the spirit of the 70s coming alive and grabbing you by the throat (and/or balls), and it’s also one of DePalma’s finest hours. While not as trashy and campy as some of the others I’ll be watching, this one has a Euro-trash feel to it that made it fit right in. Quite a good, low budget picture.
Female Trouble (1974, USA, John Waters)
Category: Camp/General Exploitation
For some strange reason, this is still rated NC-17. I’ve seen more explicit stuff on Showtime! Fortunately, this flick is fucked up. I made a pact with myself before I began that I would only give ONE John Waters film an entry. Overloading the festivities with too much of anything (except for black people) will burn me out faster than I’d like to. So I decided on Female Trouble, which is one of the few that I’ve not seen (and also had borrowed from Joe for well over six months). As much as I probably should have taken on Pink Flamingoes for this endeavor, I simply can’t find it in myself to sit through that again. It’s hard to critique Waters for being unintentionally terrible, when so much of it is obviously intentionally awful. Nobody does sleazy like Waters and the mysteriously appealing tranni they call Divine. This cast is filled with some of the most repulsive people you can imagine, accompanied with some of the worst acting. Dawn Davenport’s husband was picked off of the street for the part! This also contains some of Waters best set pieces. Dawn’s instant child birth (and I mean instant) is immediately followed by what appears to be Dawn eating the child’s hand. Though it’s hard to imagine seeing a lot of filmmakers shooting a scene like this, most would have reshot to show that it was the cord she was chewing on, not baby fingers. But that’s Waters! It’s cheap, it’s filthy, and unlike Pink Flamingoes, it’s something you could actually feel like watching more than once. Severed limbs, petty cattiness, and facial scarring take the place of poop and egg munching. The script is full of classic moments both intentional and not, and contains the precursor to the wonderful courtroom scene from Serial Mom.
The good news? Netflix is sending out Sweet Sweetback’s Badasss Revenge, Superfly, and Dolemite to me tomorrow. See you in a day or two, and don’t forget to leave comments.
-M
Exploitation films were most alive and well throughout the late 60s on through to the mid 80s. It’s hard to describe just what makes an exploitation film outside of the obvious boobs, bullets and cheese, but if you’re good you can spot one when you see the cover, or read the title. The five best ways to know if you’ve spotted one?
1. It’s on a low budget. Like, say, your last minimum wage paycheck. For ten hours of work.
2. "Hey, wanna be in a picture?" was a phrase that most all of the "actors" appearing in these films heard.
3. It has a good, often funky or soulful, soundtrack.
4. People will die. Usually it’d be disturbing, but mostly it’s just funny here.
5. Blood is the color of rainbow red.
And without further ado...
Shaft (1971, USA, dir. Gordon Parks)
Category: Blacksploitation
The most well known of all blacksploitation films is a fine choice, I think, to begin the festivities on the right note. As I discovered, the flick is most notable for its hot, smokin’ Isaac Hayes soundtrack as opposed to the actual movie itself. It’s really not very good at all, and not in a way that MAKES it good like most of these exploitive tales. Richard Roundtree isn’t exactly the best leading man, nor the most believable hardass, so none of it feels authentic (or misguided) enough to be memorable. It’s so middle of the road and bland! I know for a FACT that I’ll be watching more notable entries into the genre than this one. It’s almost too classy! Shaft does get to sleep with at least two women, one of which is white, and he treats them like objects, so points are to be awarded...but why not five white women at once??? And where was Samuel L Jackson?????????? Disappointing for a film whose theme song is so infamous.
DOES WHITEY GET IT?
Yeah, but death by a hail of machine gun fire was the best that John Shaft could do? HIS NAME IS PHALLIC FOR GOD’S SAKE!
CHOICE CUT
Shaft: I just said up yours, baby.
Foxy Brown (1974, USA, dir. Jack Hill)
Category: Blacksploitation
The white devils that Pamela Greer takes on after they kill her lover are so very evil! They drug her! They beat her! They’re so evil, in fact, that when Foxy shoots a man in the head at the end of the film, HE DOESN’T DIE. HE JUST STANDS THERE. She has to shoot him in the head again to seal that deal. That’s some evil honky action! This was much better than Shaft if only because it doesn’t take itself nearly as seriously. Ms.Greer doesn't feel like showing off those massive juggs, so she has her man hide them in his hands for the duration of their brief sex scene. See, Foxy is a classy dame, she's just pushed over the edge and has to take care of business. This doesn’t REALLY explain the poorly choreographed, massive catfight at a bar later in the film, but that bitch is angry, and some honky was steppin’ up. What’s she to do??? Cut off a penis, and put it in a jar, that’s what. Blacksploitation has done me proud this time.
DOES WHITEY GET IT?
Oh yes. Whitey gets it GOOD. Death by plane wing/propeller was my favorite of the bunch, though that double head shot was a prize in and of itself.
CHOICE CUT
Bar Bitch: Listen skinny, before you start talkin’ tough, I’d better warn you that I’ve got a black belt in karate, so why don’t you get outta here while you’ve still got some teeth in that ugly face?
(Foxy lays her out with a barstool)
Pam Greer: And I’ve got my blackbelt in barstools!
Sisters (1973, USA, dir. Brian DePalma)
Category: Sexploitation/General Exploitation
Category: Sexploitation/General Exploitation
Because this is Brian DePalma, it’s kinda hard to classify this in the same realm as exploitation. DePalma, as you should know, exudes a glossy classiness that is not unlike Hitchcock...if Hitchcock decided to be excessive. Granted, DePalma has had much more exploitive flicks than this, but I’d yet to see this one. It’s a murder mystery that twists and turns until the very end, when you’re still kinda confused. This is DePalma’s early work, and from the classic score to the trippy visuals, it’s the spirit of the 70s coming alive and grabbing you by the throat (and/or balls), and it’s also one of DePalma’s finest hours. While not as trashy and campy as some of the others I’ll be watching, this one has a Euro-trash feel to it that made it fit right in. Quite a good, low budget picture.
DID IT TURN ME ON?
It’s kinda sexy...but in that classy, European way. If I want DePalma to get me all hot and bothered, I’ll watch Body Double or Dressed to Kill, with Michael Caine in drag.
It’s kinda sexy...but in that classy, European way. If I want DePalma to get me all hot and bothered, I’ll watch Body Double or Dressed to Kill, with Michael Caine in drag.
CHOICE CUT
No memorable lines to speak of.
No memorable lines to speak of.
Female Trouble (1974, USA, John Waters)
Category: Camp/General Exploitation
For some strange reason, this is still rated NC-17. I’ve seen more explicit stuff on Showtime! Fortunately, this flick is fucked up. I made a pact with myself before I began that I would only give ONE John Waters film an entry. Overloading the festivities with too much of anything (except for black people) will burn me out faster than I’d like to. So I decided on Female Trouble, which is one of the few that I’ve not seen (and also had borrowed from Joe for well over six months). As much as I probably should have taken on Pink Flamingoes for this endeavor, I simply can’t find it in myself to sit through that again. It’s hard to critique Waters for being unintentionally terrible, when so much of it is obviously intentionally awful. Nobody does sleazy like Waters and the mysteriously appealing tranni they call Divine. This cast is filled with some of the most repulsive people you can imagine, accompanied with some of the worst acting. Dawn Davenport’s husband was picked off of the street for the part! This also contains some of Waters best set pieces. Dawn’s instant child birth (and I mean instant) is immediately followed by what appears to be Dawn eating the child’s hand. Though it’s hard to imagine seeing a lot of filmmakers shooting a scene like this, most would have reshot to show that it was the cord she was chewing on, not baby fingers. But that’s Waters! It’s cheap, it’s filthy, and unlike Pink Flamingoes, it’s something you could actually feel like watching more than once. Severed limbs, petty cattiness, and facial scarring take the place of poop and egg munching. The script is full of classic moments both intentional and not, and contains the precursor to the wonderful courtroom scene from Serial Mom.
DID IT TURN ME ON?
It’s John Waters. Of course it did.
It’s John Waters. Of course it did.
CHOICE CUT
The hilariously poorly overdubbed sex sequence at the beginning of the film is just chock full of gems, but...
Taffy: I wouldn’t suck your lousy dick if I was suffocating and there was oxygen in your balls!
The hilariously poorly overdubbed sex sequence at the beginning of the film is just chock full of gems, but...
Taffy: I wouldn’t suck your lousy dick if I was suffocating and there was oxygen in your balls!
Xing Xing Wang (Aka. Mighty Peking Man) (HK, 1977, dir. Meng Hua Ho)
Category: Camp/Sexploitation/Foreign Exploitation
Category: Camp/Sexploitation/Foreign Exploitation
Evelyn Kraft shows one tittie off for about 60 of the 85 minutes this thing lasts for. Just one. Did she know it was out? With all that running around, she was bound to. And the swimming. And she doesn’t change clothes AT ALL, even when she comes back to civilization! This is by far my favorite one yet, naturally! Not just for the drop dead gorgeous Evelyn and said tittie, but for just how god-awful shitty every single minute of this movie is. It’s a brilliantly goofed up, Asian version of King Kong, dubbed in English, and full of exploitive elements. Tarantino himself picked this to be released through his now defunct Rolling Thunder pictures branch of Miramax, and the print almost looks too good for something of this quality. The most obvious exploitive element of this film is Evelyn. After that? Animal cruelty, in the form of a leopard’s mouth being obviously sewn shut, which appeared to me as hilarious and awful at the same time. For all I know, though, kittie may have been chewing on people, and what better way to fix kittie than by sewing that dangerous orifice shut!? Does the cruelty to animals stop there? Yes. Yes it does. But that Peking man, you say! The "hand puppet" close up shots of the face lead me to believe that not only was no ape harmed in the making of this production, but there was (maybe) no ape at all! The terrible, terrible matting and blue screen work actually accentuates the shots of a man in an ape suit, that looks worse than any Japanese monster film to date. This is by far the cheapest Asian production that I’ve ever seen that wishes it had a budget. My favorite moment (and MY GOD, there were many) arrived during a horrible elephant attack. An elephant raises his foot, and through a series of bafflingly awful cuts, steps on a man’s chest. The kicker? There is no wound, just an abundance of red paint slathered on the man’s chest. There is also a one bite removal of a man’s leg by a leopard. Remember that sewn mouth? Coincidence? From the scantily clad to the absurdly awful, Mighty Peking Man is a total winner.
DID IT TURN ME ON?
Evelyne Kraft could make Boy George go straight. So, no. Wait, I mean yes.
Evelyne Kraft could make Boy George go straight. So, no. Wait, I mean yes.
CHOICE CUT
Military Person: I order you to kill the Peking man. Kill the Peking man. Kill the Peking man, repeat. Kill the Peking man. Kill the Peking man through any means necible(?).
Military Person: I order you to kill the Peking man. Kill the Peking man. Kill the Peking man, repeat. Kill the Peking man. Kill the Peking man through any means necible(?).
The good news? Netflix is sending out Sweet Sweetback’s Badasss Revenge, Superfly, and Dolemite to me tomorrow. See you in a day or two, and don’t forget to leave comments.
-M
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