Coffy
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Movie Reviews of Coffy
Movie Review: She had a body men would die for - and a lot of them did!
Summary: 4 Stars
While Coffy (1973) may not have been Pam Grier's first foray into feature films it was the one that really launched her (and her twins) into the public eye, garnering an impressive amount of commercial success. Written and directed by Jack Hill (Spider Baby, Switchblade Sisters), who would team up with Grier a year later to release Foxy Brown (1974), the film features, along with Grier, Booker Bradshaw (Skullduggery), Robert DoQui (RoboCop, Miracle Mile), William Elliott (Night of the Lepus), Sid Haig (House of 1000 Corpses), Lee de Broux (True Grit), and Allan Arbus (Putney Swope), probably best known for his reoccurring role on the television series "M*A*S*H" as army psychiatrist Major Sidney Freedman.
As the film begins we find ourselves in a swingin' soul club where we see a young African American man approach an older African American man sporting an Afro that looks much like a black, shag rug (turns out the younger man is a skeevy dope dealer and the older man his supplier). Anyway, seems the dealer has a present for his supplier in the form of Pam Grier, who's posing as a strung out junkie that will do anything (or anyone) to `get straight' i.e. obtain a fix. The trio heads back to the dealer's apartment (seems the supplier plans to snog Pam up good while the dealer only wants to shoot up and watch), and once there things seem to be going according to plan, that is until Pam produces a sawed off shotgun...as far as what happens next, well, let's just say neither man had a good night. Turns out the woman's name is Coffy (Grier) and she's a hospital nurse whose younger sister took some bad dope and is now a permanent resident of a juvenile drug rehab ward. In retaliation, Coffy offered up some street justice (as seen in the beginning of the film), but soon learns from her policeman friend Carter (Elliott), who seems the only cop on the force not on the take, that the drug business is a hydra i.e. a beast with many heads. We, in turn, learn of a new player in town named Arturo Vitroni (Arbus), a heavy duty gangster from Las Vegas looking take over the vice and narcotic rackets. After Carter suffers a serious beat down (he refused to take bribes) from Vitroni's goons (one of them played by Sid Haig), Coffy goes undercover as a Jamaican call girl named Mystique (complete with phony Jamaican accent), hoping to get close to Vitroni, who's a sadistic sleaze, by going through a local hustler named King George (DoQui), who makes the scene in a mustard colored jumpsuit/cape ensemble, topped off with Elton John glasses (he kinda looks like Superpimp). Anyway, Coffy ends up getting next to Vitroni, but things fall apart as she's recognized by one of Vitroni's men. Things go round and round from here as Vitroni tries to figure out who Coffy's working with, while Coffy suffers some abuse before eventually turning the tables on all those muthas who did her wrong...
While I did enjoy Coffy a lot, it's actually a bit tamer when compared to Foxy Brown (1974), the latter originally intended to be a sequel but then changed to a stand-alone film shortly prior to production (why? I have no idea). While Foxy Brown had a lot more violence and overall action (along with a more mean spirited attitude), Coffy appears to have more of an actual story and greater dimensionality to the characters, at least in terms of Grier's case (both involved Grier's character infiltrating a criminal organization the intent being to destroy it from within). Here we see a few scenes where Coffy is trying rationalize within herself the vigilante justice she engages in, struggling a bit with her conscience, and commenting a number of times how it feels like she's in a dream. As a result, the film starts off with a bang (figuratively and literally), but then slows down a little in the middle, picking up speed again during the last half of the production. Thing is, not many come into a film like this expecting (or wanting) character development, but I did appreciate its inclusion. That's not to say the characters succeeded in appearing fully fleshed out (they really weren't), but there seemed an effort on writer/director Hill's part to make the film a little more than it was, and I think he succeeded, certainly assisted by the presence of Grier. As far as the performances, they were all pretty funky, but for the type of film this is, they work well enough for my expectations. I did learn a few things from this film, including the following...
1. In the land of chocolate mammaries, Pam Grier is queen (crude as it may sound, it's true).
2. In the 1970s it wasn't a big deal, politically speaking, for local councilmen with aspirations of becoming congressmen to share ownership in a sleazy strip club.
3. If you're a policeman who's not on the take, don't threaten to expose those fellow officers that are as you'll most likely end up being beaten to a bloody pulp by masked thugs brandishing axe handles.
4. You know you've made in the world of sleazy pimps when you've got your very own theme song.
5. Nothing accentuates a mustard colored jumpsuit like a mustard colored cape.
6. Macrame bikinis were fashionable in the 1970s.
7. Never grab a prostitute by the hair as she may be hiding razor blades in her coif.
8. Giant Afros were not only fashionable in the 1970s but also a great place to hide stuff.
9. I heard of drive by shootings, but this is the first time I've ever seen a drive by lynching.
10. Never pause in the middle of a busy freeway at night to take aim at someone with a gun as you'll most likely end up getting squashed like a bug by on coming traffic.
11. The Man is ultimately responsible for all illicit activities.
All in all if you're a purveyor of sleazy, exploitation cinema from the 1970s, Coffy is among the cream of the crop. It may not be high art, but it sure as hell entertains.
The picture, presented in widescreen (1.85:1), is decent enough, but does exhibit some grain in a couple areas. As far as the audio it comes across well enough, available in English, French, and Spanish Dolby Digital mono. As far as extras there's a commentary track with writer/director Jack Hill, an original theatrical trailer, and subtitles in French and Spanish.
Cookieman108
By the way, for those interested, Coffy, while not as balls out violent as Foxy Brown, did feature more overall nekkidness. Another thing, there's a couple of boxed DVD sets out there with Pam Grier's films (one's called `Fox in a Box' and the other is called `The Best of Soul Cinema DVD Collection', both released by MGM), so if you're interested in buying this film, you might want to check out the availability on those sets as it might save you some green rather than buying the films individually.
Movie Review: Over the top
Summary: 4 Stars
I continue to marvel at the DVD revolution. When I first learned about DVD several years ago, I rightly figured that it would change the way we watch movies. What I didn't figure was how much. Thanks to the acquisition of a relatively cheap player and a cheaper subscription to a rental service, I can sit in front of the television set EVERY NIGHT and watch cult, exploitation, horror, action, and other films in dozens of genres that were next to impossible to find a few years ago. And if you could find a beat up VHS copy of a low budget classic, for example, you would pay top dollar for the privilege because you had to buy, not rent, the film. Video stores out where I live long ago quit carrying the sorts of films I longed to see. Heck, the last time I considered myself lucky at the local movie store was when I found an uncut version of Joe D'Amato's "Buio Omega," under the name "Buried Alive," at a major retailer well known for not carrying such cinematic treasures. And that was probably fifteen years ago! Yep, DVD is not only here to stay but also keeps growing by leaps and bounds. No film is too outrageous for rerelease on DVD, which is where Jack Hill's 1973 blaxploitation epic "Coffy" enters the picture.
Director Hill sets the tone of his project immediately by introducing us to Coffy (Pam Grier), a nurse by day and an avenging angel by night. Sadly, a bunch of drug dealers corrupted her little sister some time ago, turning the poor lass into a mentally unstable basket case who now resides full time in a bed at the local psych ward. Coffy knows she can't go to the police for help because of the systemic racism of the man, so she decides to take matters into her own hands. Decked out in the steamiest outfit she can find, she lures a drug kingpin and his lieutenant back to his apartment in order to dispatch the two with shotgun and syringe. Two down for her sister with a bunch more to go. In the meantime, Coffy rekindles her friendship with a black cop named Carter (William Elliot) while maintaining a relationship with fast talking politico Howard Brunswick (Booker Bradshaw). Our heroine comes close to telling her cop friend all about her missions of carnage, but before she can do so a bunch of heavies beat Carter senseless for refusing to go on the take. It's not surprising at all that these same thugs are the guys Coffy will eventually go after as her plot takes her up the underworld chain of command. But in order to achieve her mission, she's going to need all of her feminine wiles. Seeking revenge is serious business--just ask Charles Bronson.
Coffy learns about the existence of drug kingpin Arturo Vitroni (Allan Arbus of M*A*S*H* fame) who associates with a powerful procurer named King George (Robert DoQui). In order to ingratiate herself to Vitroni, Coffy goes undercover as a Jamaican harridan named Mystique complete with hilarious accent and a huge Afro. When you stop laughing, feel free to continue. Grier's character puts the moves on King George, convincing him to take her on as his star employee. The other ladies in his majesty's service resent the power Mystique holds over the boss, so Coffy needs to worry about the girls plotting her downfall even as she strives to keep her true identity under wraps. Mystique manages to grab Vitroni's attention at a soiree where a full scale catfight breaks out between Coffy and the other gals, a catfight involving thrown food, slapping, a broken bottle, and razor blades carefully placed in Mystique's Afro just in case one of these sneaky girls tries to pull her hair. The movie flies by rapidly from this point forward, with Coffy discovering just how far Vitroni and his goons--including the ominous Russian thug Omar (Sid Haig)--are willing to go. Expect a few plot twists before the credits roll.
I really got a charge out of "Coffy." I've always been a big fan of Pam Grier, one of those rare actresses who just keep getting better looking with age. She's great as the relentless Coffy, a woman out to destroying her enemies anyway she can. And while her acting isn't the greatest, the script easily takes much of the blame off the performers. Hill's movie is pure exploitation, more focused on exaggerated visual theatrics like Omar tying King George to the bumper of his car and dragging him through the streets than engaging in intellectually stimulating dialogue. The movie does examine several themes--racism, crime in the black community, and drug abuse among others--but the real driving force of the film is mixing up sex and violence in ways aimed at shocking audiences and pushing boundaries. I initially found the scene between Vitroni and Coffy deeply offensive until I placed it in the context of the film as a whole. Black audiences could bellow in rage at the overt racism expressed by a few of the characters and then sit back and relax as Coffy dealt out her own brand of justice to the evildoers on behalf of the black community.
The primary extra on the DVD is a commentary with Jack Hill that is, unfortunately, rather boring to listen to. It's the film that should draw in audiences, and in that respect "Coffy" will succeed because of it's in your face attitude and over the top histrionics. I can't wait to follow this one up with the other blaxploitation classics. Although this is my first excursion into this genre, I suspect "Coffy" is an excellent place for the novice to start. Go get 'em, Coffy!
Movie Review: The ultimate in '70s soul cinema and Pam Grier's repertoire
Summary: 4 Stars
Though 'Coffy' wasn't exactly on American film critics' top 10 lists back in 1973, that didn't stop those who actually MATTER (average moviegoers) from flocking to the theater to see this surprisingly stylish action film which sky-rocketed Pam Grier's career and set the standard for which just about every subsequent blaxploitation film and every other female heroine would be compared. She commandeers the screen like no other actress ever has, whether she's got a double-barrelled shotgun under her arm, or sitting nude by a fireplace sipping champagne with her lover, or even when she's dropping the cheesy one-liners ("So you wanna play with knives, huh? Well, you picked the wrong player!") that this genre is known for. This is the kind of movie anyone could like if they would just give it a shot. As the title character, Grier plays a nurse who works the night shift at a local hospital, and, haunted by her inability to keep her 11-year-old sister away from the lure of hard drugs, she has taken it upon herself to imprint her own brand of street justice on the lowlife criminals and dealers she comes across. But after killing the local pusher in the opening sequence, her thirst for revenge still isn't quenched, and when a police officer friend of her's is severely battered by some corrupt cops for not taking bribes, it sets her off on a one-woman mission to follow the trail of corruption to the very top of the mob hierarchy. And then put everyone involved on ice. It may be a sub-par set-up, but the incredible Pam Grier is so multi-faceted in the role, she makes it all so legendary. At once a sensitive, caring, nurturing friend to her people, and then an irresistable seductress who gets you right where she wants you before lining up a double-barrelled sawed-off shotgun right between your eyes with the cold intent of a vicious killer. The highlight for me comes early, in that classic opening scene, when she holds one of the local pushers at gun-point and demands that he shoot a large amount of smack into his veins ("I can't take that, it'll kill me", "Well, if it do, you're gonna fly through them pearly gates with the biggest f---in' smile St. Peter ever seen!").
While 'Coffy' isn't my favorite movie, it's one of the few movies that I'll probably never get tired of. It's the perfect film to just kick back some night and watch when you have nothing particularly important to do. Though I am a fan of 'Foxy Brown', which is considered by most to be the ultimate Pam Grier film, I've never enjoyed it as highly as I enjoyed this one. Don't analyze it or pick it apart. Just pop some popcorn, sit back, relax, bob your head to the '70s funk grooves, laugh at the sometimes-cheesy dialogue and melodramatic acting, and enjoy the show.
Movie Review: Thank you Pam for a Blaxploitation classic!
Summary: 4 Stars
Maxim magazine lists Coffy as number 7 on its list of the 50 best B-movies of all time, and there can clearly be no mistake about its status as a B-movie. Pam Grier shines in this hilarious action-packed blaxploitation flick where she first got her name as a 'black pin-up queen' during the early 70's. It is apparent after watching this film that no one remembers this for the bad-acting and dialogue, but for Pam Grier herself she is one mean sister.
This movie SCREAMS 'early 70's', from the afro wigs to the awesome outfits Coffy finds herself wearing whether it be at a gala for call girls or when she's undercover to kick some drug-dealer's nasty behind!
This brilliant film mixes comedy right in there with the action. From the campy catfight scenes when Coffy dumps a salad bowl onto a blonde girl's head, to when King George makes his first appearance and steps out of his car in his pimp outfit, complete right down to the feather in his hat!!! Just seeing Coffy smash a wine bottle on a table to defend herself against a crack head wielding a knife is riotous enough and also goes old school by putting razor blades in her hair!!! The action is fairly consistent. There are a lot of guns firing off and endless catfights.
But every time Coffy appears on screen and you just KNOW that some bad stuff is about to go down, you know that you're going to be taken for a fun ride! As I mentioned above, no one is watching this movie for an Oscar-nominated performance or even a decent soundtrack (the "Coffy" theme sung by the Gladys Knight & The Pips-wannabes halfway through the movie is timeless!!!) - You're there to be entertained... and entertained is what you'll get, guaranteed. This is one movie where you don't have to be drunk to enjoy it.
Movie Review: They Didn't Call It Blaxploitation for Nothing
Summary: 4 Stars
A minor digression before I review "Coffy". I remember some 20 years ago Siskel and Ebert doing a special show on the state of black cinema. They cited Pam Grier as an example of talented black actors who were underutilized. Grier was a superstar in the niche career that she carved out in "blaxploitation" films. When she went mainstream in "Fort Apache-The Bronx" the best role they could give her was that of a strung-out murderous prostitute. It took some 15 years for a maverick director like Quentin Tarantino to recognize the qualities that Grier brought to the big screen with "Jackie Brown". As for "Coffy" itself, if you're looking for this film as a serious examination of the drug problem that had, and still does, a stranglehold on the inner city then look elsewhere. Outside of a perfunctory scene of Coffy(Grier) visiting her baby sister in re-hab there is little else in the film that would give you food for thought. "Coffy" is high camp. Outside of Coffy's cop friend most of the other characters are played over-the-top. The film also consists of a series of outrageous violent confrontations most memorable Coffy blowing the head off of a drug dealer with a double barrelled shotgun. The film also takes every possible opportunity to show off Grier's impressive attributes. Grier has a definite screen presence but she's not the polished actress here that she would later become. There's a certain stiltedness in some of her line deliveries. Bottom line, entertaining show. On a final note, Sid Haig who plays Omar the thug here would later portray a judge in "Jackie Brown".