MGM was first with two cheap remakes in 1972: “Cool Breeze,” the umpteenth recycle of “The Asphalt Jungle” and “Hit Man” from white writer-director George Armitage, starring Bernie Casey. He dressed great--not the soon-to-be faddish pimp outfits but lots of expensive leather, turtlenecks and, yes, gold chains (future cannon fodder for the Wayans brothers). In 1972, in spite of the financial gains many of them had made from these pictures, a group of actors and directors began to protest “a new form of celluloid stereotyping.” Combining with several civil-rights organizations, they formed the Black Artists Alliance, which took out ads condemning the gratuitous violence and sex and negative portrayal of urban blacks. Check out the special blaxploitation shelves in some of the independent video stores. Our take on all things film, including Auteur Theory and Film Language. If such protests didn’t, at first, slow down studio production of the genre, they were heeded nevertheless. Blaxploitation: History Pam Grier: Blaxploitation was a film genre that emerged at the end of the Black Power Era in the 1970s. It is all here. Studios are going through one of those periodic recessions and feature production has been cut back. Blaxploitation ’70s films are a visual rush of ultra-hip and flashy style. Blaxploitation: History. Whether they were street heroes, like Jim Brown’s “Slaughter” or Fred Williamson’s “Hammer,” or pimps, like Max Julien in “The Mack” (one of the worst pictures of the genre, despite its popularity), or vigilantes like Pam Grier’s “Coffy” (nurse by day, hooker impersonator by night, blowing away the dealers with a shotgun), somehow the boys at the studios could use the antidrug crusade as the core of morality (from the Hollywood of the ‘70s, no less!) It came from critics and politicians, white and black--many of whom, typically, had not even seen it. Throughout much of 1972 and ’73, Hollywood released more than 40 blaxploitation pictures. Flashback: winter 1971. With its super-hip bad guys and femmes fatale, its satire of the genre is comically ironic as the ultimate white superhero blasts them all away. (In 1972, studios were also releasing A-budgeted, serious black-themed films with justifiable aspirations for white crossover audiences, and awards considerations. Endorsement: The Times endorses Hoffman, Anderson, Henderson and Han for LACCD. If drug glorification was distasteful, the studios could easily create heroes who were antidrug crusaders. The ex-film publicist, Junius Griffin, created the term “Blaxploitation”. Hollywood had begun to acknowledge black themes by the mid-'60s, and there were an increasing number of visible black actors, including superstar Sidney Poitier. He was equally tough on black gangsters for their demoralizing exploitation of the race, though he’d never “rat them out” and ended up rescuing the black mob boss’ daughter from the Mafia. There were outcries that “Sweetback” and “Shaft” and “Superfly” were no closer to black reality then Stepin Fetchit. In truth, most of the blaxploitation movies were terrible. With a schlock distributor called Cinemation (whom he later sued), he promoted his movie--about a pimp who blows away two white racist cops and runs for his life--exclusively to urban black audiences. Its huge grosses were exclusively black. The Museum Of UnCut Funk celebrates the 1970's Blaxploitation era. Let’s take a closer look at the assertions. for what was becoming one of the sleaziest and most gratuitous movie genres ever. Two sequels and a short-lived TV series followed in rapid succession, but the new, economy-minded MGM, as well as other Hollywood execs, had already begun building a bigger franchise. But the output of black-content pictures of the era’s last few years yielded little success. . And Isaac Hayes’ masterful title song--that year’s Oscar winner--didn’t exactly hurt. Where Is Memory Stored In The Brain Diagram, Hulu Food Show Padma, Love Khichdi Watch Online, What Does Saurus Mean In Dinosaurs, Feeling Great Book, Major Events In History, Schnecken Pastry, Is the COVID-19 risk on airplanes really that low? The lyrics of Curtis Mayfield’s mournful but danceable songs exposed the tragedies of intelligent men, like O’Neal’s Priest. A curated collection of peer-reviewed academic essays. The style of the genre was set. Watch our Vimeo channel here. It's a love thang! The airline industry is promoting new studies that suggest the risk of contracting COVID-19 while flying is low. The big-budget, reserved-seat event pictures, so popular in the ‘60s--from “Lawrence of Arabia” to “Funny Girl” to “2001"--are now considered bad investments. MGM already had “Shaft” in production in New York during “Sweetback’s” run. “This is the movie the Man doesn’t want you to see. Newcomer Richard Roundtree had a winning smile and a lot of charm, and his new take on an action hero had much to do with the film’s success. “Superfly,” directed by Gordon Parks, Jr. and starring perhaps the best actor of the genre, Ron O’Neal, was a serious, uncompromising movie. The Museum Of UnCut Funk celebrates the 1970's Blaxploitation era. California’s November election will feature 12 statewide ballot measures. Not one produced a major star. (In 1976, the next Bond, “The Man With The Golden Gun,” similarly skewered the martial-arts pictures.). Even “Superfly’s” writer and director came out against the trend and stated they would no longer work on such films. [Essay], Class Stratification in The Hunger Games [Essay]. For me, the end of the blaxploitation era came with the James Bond movie “Live and Let Die,” released in 1973. Unlike the virtually silent Sweetback, Shaft was outspoken, especially to the cops, traditional nemeses to all private investigators and urban blacks. With the release of the “Shaft” remake today, there’s bound to be another blast of nostalgia for the so-called “blaxploitation” genre of the early ‘70s. Read about the films making major waves in the film community. John Shaft, P.I., was a stand-up guy from a genre of stand-up guys. Film Writer + Ambassador for Birds Eye View Films, THE FORTY YEAR OLD VERSION: Sharp Satire from Director Radha Blank, The Representation of Gender and Inequality in Memoirs of A Geisha [Essay], Gender Roles in A Fistful of Dollars [Essay], The Evolution of Cinema: Full Timeline Explained, ATLANTICS: Outstanding Debut Feature from Director Mati Diop, Gender representation in Double Indemnity: Women Who? Studio execs took note. Quentin Tarantino’s strangely convoluted “Jackie Brown” (1997)--"Coffy” meets Elmore Leonard--reminded us of it again. Starting at $1 per month →. But before the new “Shaft” makes us all fondly recall the brief era of supercool Superflys, we might pause and take a look at what we’re celebrating. For more than a year, urban movie theaters have been closing down “for remodeling” or for good. Keenen Ivory Wayans’ “I’m Gonna Git You Sucka!” (1988) sent it up affectionately, never forgetting its ridiculous limitations. And then out of nowhere, “Sweet Sweetback” arrived. The most successful comedic moments in The Forty Year Old Version are also its most critical moments. Nor did the movies show any special popularity among black audiences. Viddy Well, a blogger and film critic who wrote a concrete history of the movement, described the genre of Blaxploitation films as “a subset of exploitation cinema, which is fundamentally comprised of independently produced, low-budget B-movies or grindhouse films.”. Read as we take you through the …, It takes some time to get going, but once it does, the film makes some compelling points about migration, class …, From the importance of masculinity to the lack of accurate representations of the female gender, Double Indemnity hits the nail …, The Hunger Games clearly shows that rebellion will occur in case the RSA is too domineering with its citizens. A look at California’s November ballot propositions. Endorsements. Analysing iconic films and modern classics, cinema past and present, and explaining the theoretical stuff in a way that just makes sense. The studio execs had already found a new staple to fill the downtown theaters--martial-arts movies. He even embraced the MPAA’s X rating. The ex-film publicist, Junius Griffin, created the term “Blaxploitation”. And several home-video entrepreneurs have been reviving many of the more than 40, mostly studio movies that qualify under the blaxploitation label. There was a black urban audience hungry for more “Sweetback-Shaft” kick-ass fare, and the studios wanted to cash in. Black images in American films have usually been reflections of the history of race relations in this country. He had done a critically acclaimed French interracial love story, “The Story of a Three Day Pass” (1968), and a flawed but outrageous “race change” comedy for Columbia, “Watermelon Man” (1970). He even got to have a “no big deal” one-night assignation with a white chick. Indeed, there never seemed to be much of a black demographic for Hollywood. On top of that, everything about the movie was marketable. Browse our collection of peer-reviewed essays too! At first the rush to production was welcomed by black artists. (he deleted the epithet). As for the movie, it’s as dated as “Sweetback” with almost as little plot, but the character is a winner. Blaxploitation film, soundtracks, style and attitude.