Some references list Cotton Comes to Harlem (1. Blaxploitation movie. If that's so, it's true mostly in hindsight, in much the same way 1. Gojira relates to the . Both were movies that had a serious side to their obvious entertainment value; both were aimed at an audience that had endured hardship — in the case of the Japanese, the humiliation of their defeat in World War II, the lingering consequences of the atomic bombs, and the more recent horror of the . Both movies were enormously successful, in part because they broke through the barriers — of American censorship in Japan, and of neglect, indifference and contempt on the part of the white mainstream in America. Both went on to influence a whole new genre of commercial exploitation cinema, which ended up following a completely different path from the original.(If the comparison between Ossie Davis's film and Honda Ishir. I'm a middle- aged white Internet horror- movie critic. I'm about as qualified to talk about the Black experience in America as I am about theoretical astrophysics. I have to couch these things in terms I can understand myself.)Cotton Comes to Harlem reached Black audiences at a time when the major Hollywood studios were rapidly losing their momentum. The studio system seemed outdated, and hard- pressed to compete with television in the turbulent social environment of the early 1. Even in hard times, though, Hollywood hadn't given much thought to Black audiences — and why would they have? Hollywood had been vigorous in promoting the stereotype of the Lazy Shiftless Negro from the earliest days of film. Many talented Black artists had to accept demeaning roles in white people's movies (and sometimes, as in the case of Willie . Even when a mainstream movie actually acknowledged the struggles of Black America, it usually portrayed that struggle from the point of view of its white actors. Add to this the growing racial unrest of the late 6. Civil Rights movment; the headlines screaming about Black violence, Black drug abuse, the staggeringly high rate of Black unemployment.. For once, Black folk in America saw themselves represented on- screen, and they went to the theaters in droves. Even so, Hollywood might not have paid serious attention, had it not been for Mario van Peebles's Sweet Sweetback's Baad. Want to share IMDb's rating on your own site? Hyde (1976) is a movie genre Horror produced by Dimension Pictures was released in United States of America on 1976-01-01 with director Willi. Hyde (1976) Directed by William Crain VCI VHS. THE FILM If you’re white, rich, and a closeted bigot, avoid this film. Asssss Song (1. 97. Van Peebles's film almost didn't get made. It was confrontational and visceral in a way that made Cotton Comes to Harlem, blunt as it was, seem abolutely tame by comparison, and consequently the studios refused to fund it. Van Peebles paid for the production himself, and when the distributors in turn refused to handle it, he got the finished film booked into a mere two theaters nationwide. Within days, the two theaters were filled past capacity with the crowds who came to see it The movie was a staggering success. Then Hollywood took notice of the Black audience. Individual Black consumers, they realized, may be poorer than their white counterparts.. The same cannot be said for a great many of the Blaxploitation flicks that followed. Many — most even — were either written or directed (or both) by whites. Practically all of them were produced by white producers — essentially, the guys who'd collectively walked away from Sweet Sweetback.. As a result, the Blaxploitation movies are a mixed bag. Some white writers and directors had a much clearer, much more respectful view of the kind of cinema they were being asked to create. Hyde (1976) affiches sur AllPosters.fr. Parcourez notre galerie de plus de 500.000 posters et affiches d'Art. Encadrements, satisfait ou rembours Hyde - aka The Watts Monster - is a 1976 American blaxploitation horror film. It was very loosely inspired by the. Hyde (1976) Own the rights? View company contact information for Dr. Release Date: January 1976 (USA) See more ». Hyde: A doctor (Bernie Casey) in a Watts clinic takes his own medicine and becomes a monstrous white killer of hookers. Jack Hill, for example, when he was first approached about making Blaxploitation movies, immediately thought of Pam Grier, with whom he'd just worked on the Women In Prison movies The Big Doll House and The Big Bird Cage. He wanted to give Grier the kind of starring role that would really showcase her talent, and not just subordinate her to a male hero. He also wanted to upset some of the other conventions that had already begun to establish themselves in the genre. So rather than present pimps and drug dealers as (at best) anti- heroes or (at worst) merely part of the urban landscape, in Coffy (1. Grier's heroine coming after them with gun barrels blazing. But in addition, he tried to show that this over- the- top violence was having a negative effect on his heroine's psyche. Coffy seems to be held in higher regard today by white film buffs than contemporary Black viewers, but it's still a clear example of a Blaxploitation flick made with thought and care and skill — regardless of the skin color of the writer/director. But all too often, Black actors and technicians found that when they tried to add their perspective to a script already approved by their white producers — adjust things to reflect their real concerns, using their real language, and not some white writer's approximation — the reaction they got was sadly typical: . What do you know about making movies? Intelligent, dignified, classically trained, and extremely experienced on stage and screen, Marshall was approached by American International Pictures about doing a Blaxploitation take on the vampire film: Blacula. AIP had had an unexpected success with a gritty modern- day vampire movie —Count Yorga: Vampire — in 1. Marshall agreed to do the movie, but on one condition: changes had to be made to the script. Hyde (1976) - Toutes les infos sur le film complet Dr.Marshall insisted that this Black vampire be more than just a boogeyman. Unfortunately, he ends up in the care of a particular Wallachian Count. Dracula makes a wonderful living- dead metaphor for the commercial concerns that made (and continue to make) trafficking in human beings commercially respectable: he's a member of the powerful ruling class who lives off the blood of others both literally and figuratively. After behaving like the quintessential racist bastard in the face of Mamuwalde's request for help, he attempts to rape Mamuwalde's wife; and when the Prince fights back, Dracula turns him into his vampire slave — yes, slave, in the truest sense, for Dracula has taken over not only Mamuwalde's body, but his very soul, and forced him to follow in the footsteps of his oppressor. How's that for a symbolically- loaded setup? And all this goes down before the opening credits! Blacula is particularly successful, and remains powerful today, because of Marshall's refusal to accept half- measures. At first, he ran into the usual resistance from the producers, but eventually they gave in and accepted his vision of the vampire prince. It probably didn't hinder Marshall's cause that AIP had chosen William Crane, a Black director, to helm the project — though Crain remained a studiously non- confrontational director throughout his career, confining himself mostly to TV and genre work. Marshall's instincts were right. Blacula was such a success that it started a new wave of Blaxploitation horror flicks, including an official sequel. Yet for Scream, Blacula, Scream! Count Yorga — Marshall as the reluctant vampire fighting Robert Quarry . Clearly AIP was still thinking more about the Vampire part of the franchise that the Black part. Nevertheless, Kelljan's film remained respectful, even though it's not nearly as good as the original. Scream, Blacula, Scream! The irony here is that is exactly what Blacula himself has been forced to do by Dracula's curse — and he's very much aware of it. At the way opposite end of the scale of respect for the audience, there's 1. Blackenstein. According to legend, Blackenstein was rushed into production after AIP's Samuel Z. Arkoff made an offhand remark about a potential follow- up to Blacula. Blackenstein is sometimes erroneously credited as being an AIP picture, but even at AIP's most threadbare, low- budget stage it never put out anything quite as shoddy as this. The movie's only concessions to true Blaxploitation are: 1.) a blues number sung over the opening credits; and 2.) a nightclub scene that gives us two feeble jokes from comedian/emcee Andy C., and another blues number by the same singer who crooned the title song. As for the rest of the movie? Every black character could easily have been replaced by a white actor, and it would have had no impact on the story. That sad fact not only reveals how much of a failure as Black cinema Blackenstein is.. Winifred Walker (Ivory Stone) goes to visit her old mentor, Dr. Stein is an expert in the field of restorative gene therapy — OK, actually, I'm doing the movie a huge favor by skipping the bogus science, but after all,that's not really germane to the point I'm trying to make.. Walker needs Stein's help, because her boyfriend Eddie has just returned hopelessly maimed from the war in Vietnam. He'd been blown up by a land mine, and is now missing his arms and legs. Stein can help — I am not making this up — grow them back. Now: is their any kind of plot tension to be drawn from the fact that Stein is white and Walker and her boyfriend are Black? Is Stein in fact a mad racist, conducting twisted experiments on Black subjects? Does he, perhaps, become infatuated with this ebony goddess, to the point where he sabotages Eddie's recovery? The relationship between Stein and Walker is exactly what it appears to be on the surface. Then what about Eddie? Does he resent being crippled fighting the white man's war? When (inevitably) he gets turned into a monster, does he rise up and defend the Black community, like some sort of Afro- Golem? There's no socio- political aspect to his character.. It's an exaggeration to call Eddie any kind of character at all: he exists only to become the monster, and after he becomes the monster his . Walker, and wants to get Eddie out of the way. For heaven's sake: a guy named Malcolm makes the crippled Black man stand up for himself.. And yet this is played perfectly straight, without even the slightest hint of subtext. How do you make a Blaxploitation film with a setup like that, and still do nothing with it? The one point at which race really does intrude into Blackenstein, almost in spite of itself, is in the Grand Finale (such as it is), when the police use dogs to bring Eddie/.
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