Blaxploitation movies was kind of different. They aimed at breaking some molds, honoring the black character, and making entertainment. So did this Blaxploitation movie manage to do all of that perfectly? Hmmm, Let's see..
The movie breaks the stereotypical molds. It has a black woman, (Tamara Dobson), as a lead of an action. For your information, "black" and "woman" weren't any close to starring action movies in Hollywood back then. Plus, it has (Shelly Winters) as a lesbian evil drug dealer. This is unfamiliar character for old Hollywood, and it's done by an actress who never did anything like it before (it was like watching Gary Cooper as a pimp!). But it was about time to revolt against the previous stereotypes, or the polished clichés.
Aside from being black woman, the lead character had elements of recent cinematic hits at the moment, like being a very violent cop, who achieve justice by his gun, a la (Clint Eastwood) in Dirty Harry (1971), and she uses martial arts to fight her enemies, like (Bruce Lee) in Fist of Fury (1972), and The Way of the Dragon (1972), to be eventually a special mix. Speaking about the specialty of that mix, notice well that while (Cleo) is shown as mega-attractive, with flashy outfits, she doesn't turn into a complete sexual toy, since (Tamara Dobson) refused to do nudity, unlike nearly all the Blaxploitation heroines (back when some actresses could say "No", Ahh.. memories!).
As a whole, it's technically dexterous. The cinematography, the direction, the editing and the production were brilliant compared to the same elements in other Blaxploitation movies. For instance, look at the solid car chase, or the opening sequence; where the movie approached being grand and glossy.
Though I liked, the most, the music of (J.J. Johnson). I don't know why everybody hates the 1970s disco music. However, I just adore it. The best thing about it is that it has a fast hip rhythm and a deluxe orchestral sense in the same time, as if it marries the best of the present and the past. It's fun, gratifying, and like no other. It bothers me when I can't find this music unless in some movies or TV shows from the 1970s and the start of the 1980s only. It was so enjoyable part of this era's culture, and I miss it powerfully.
Although the outfits of (Cleopatra) are so bizarre for some, but I can't attack them with full force, because it was essential part of the movie's undertone message. Simply, the revolutionary fashion at the time said a lot about rebelling against the traditional disposition, and - for the Afro-Americans - the desire to define a distinct independent character. Here, it's some way to enhance the dissimilarity of their characters, and to embody the inner, used-to-be-subdued, uniqueness. So scrutinize (Cleopatra)'s outfits to know about her: she's wild as a tiger, fierce as a fox, yet soft as a deer, and proud as a peacock. That strong animally form wasn't only exquisite as confident figure, but also as a contemporary rebel manifestation of the black community just like those days' Jive talking. Hence, the outfits fitted the character cleverly, and weren't too much to a hilariously comic extent like in other movies.
Now, to the downsides, which leads directly to (Tamara Dobson). The thing is she doesn't have that fascinating charisma which supposedly dazzles every man. They talk about it, though we never see it. Surely she was close to mannish for most of the time. And her acting was more terrible than the hairstyle of everybody in the movie!
Then, of course, the hairstyle of everybody in the movie! Remember when (Antonio Fargas) said: "My Hair Is Like A Woman, If I Treat It Well It'll Treat Me Well!" Ok, that's the very much why he got himself killed!
The action wasn't super, being mostly a cross between the American TV customariness, and Honk Kong slow-motion! I wasn't surprised when I found out that director (Jack Starrett) did direct some episodes of (Starsky and Hutch), and (The Dukes of Hazzard) TV shows later.
And - most importantly - that script. It's nothing but shadows and echoes of other storylines in countless cop movies and TV shows. Even its renewal wasn't that effective. I mean yes, having a lesbian drug dealer was new back then, but what did it add dramatically?!, was it to assure the manly side in the antagonist which can challenge the same side in the protagonist? But that's so mannish point of view then! Or was it for giving back the "white" Hollywood its slap? But that's another racism if you asked me! Or was it for the pure sake of being outrageous? At any rate, while the script tried not to be trite, it couldn't be real fresh either. And for me, the dirty language, even if minimal, is not revolution inasmuch as degeneration!
Generally, every era has a lot of changes and vicissitudes due to its political, economical and social circumstances. Not to mention how the human taste is that fickle all along to have something fashionable at one time, then turning it into unfashionable in later time. Blaxploitation was a product of its time, and it was in fashion once. While it doesn't show up in today's movies unless in parodies, it can make a comeback in one day, because history is so uncertain I can tell you that. However what's certain, in the case at hand, is that we have an averagely entertaining action thriller, and a black revenge out of old Hollywood's molds and racism. Sadly, Blaxploitation ended up having shoddy molds and detestable racism itself.
So, it is a different formula however to achieve the same results. And while the movie's tagline says that (Cleopatra Jones) is "the chick who tops 'em all", the movie itself says that it's run-of-the-mill.
2 out of 6 found this helpful.
Was this review helpful? Sign in to vote.
Permalink
