There is a fine line between stereo-typing and the honest portrayal of criminals in cinema. Films such as Public Enemy (1931), Goodfellas, and both versions of Scarface (1932 and 1983) are examples of films both under attack and praised for its portrayal of criminals. Brian De Palma’s version of Scarface especially divides audiences and critics as to whether the character of Cuban import Tony Montana is a racial caricature or an honest look at greed and corruption. Blaxploitation cinema’s portrayal of criminals is no different drawing criticism from the African-American community, especially Rev. Jesse Jackson and the NAACP. The pimps and drug pushers in Blaxploitation cinema are considered just the same, walking the line of stereo-type and being socially conscious.
#5 The Candy Tangerine Man (1975)
Written by Mikel Angel
Directed by Matt Cimber
“Your cash ain’t nothin’ but trash.”
The Baron is a Sunset Blvd pimp that pushes his women to...
#5 The Candy Tangerine Man (1975)
Written by Mikel Angel
Directed by Matt Cimber
“Your cash ain’t nothin’ but trash.”
The Baron is a Sunset Blvd pimp that pushes his women to...
- 11/4/2012
- by Gregory Day
- SoundOnSight
Joan Blondell Q&A Pt.3: A Tree Grows In Brooklyn, Condoms and Censorship Though I know that Joan Blondell and Ann Sothern were quite different as performers, they often played no-nonsense, wisecracking dames in lots of programmers — Blondell at WB, Sothern at Rko and then MGM. Now, Sothern became an A-list player at MGM in the late 1940s, after having been around for more than 15 years. Why didn't Blondell keep her leading lady status after the early 1940s? Did she refuse to sign any long-term contracts with the studios? There was a critical point in Joan's career in the late '30s and early '40s — after she left Warners and began freelancing — where opportunities were lost. The quality of roles offered at Columbia, MGM, and Universal, was no better than what she had at Warners. As she describes it, she wasn't a fighter for decent scripts the way Bette Davis was.
- 8/25/2011
- by Andre Soares
- Alt Film Guide
The scene below is from the 1977 black film The Baron with Calvin Lockhart, Marlene Clark (who I just profiled in a recent piece about her interview in Shock Magazine Here) and Beverly Johnson – yes the model Beverly Johnson). It was written and directed by Phillip Fenty who wrote the 1973 blaxploitation classic Super Fly, and deals with a filmmaker trying to make a black film but winds up in over his head when he borrows money from the Mafia to make it.
Fenty is currently restoring his film for a 2011 DVD release of the remastered version compete with commentary and extras; below is a very brief scene from the film where Lockhart gets a friend to loan him some money. Now that I know how easy it is, I’m going to be doing it all the time…...
Fenty is currently restoring his film for a 2011 DVD release of the remastered version compete with commentary and extras; below is a very brief scene from the film where Lockhart gets a friend to loan him some money. Now that I know how easy it is, I’m going to be doing it all the time…...
- 12/19/2010
- by Sergio
- ShadowAndAct
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