A Whole Lotta Woman

After watching Foxy Brown, I have so many questions, all about the hair. Forgive me for being an ignorant Negro, but were the Afros really that naturally glorious in 1974? I mean, I know there were a few wig moments, but my word, those ‘fros are so meticulously groomed, I watched in wonder.

Also Pam Grier.

My word.

Her body like whoa. Everyone that has watched this film knows this, because from the opening credits, pervy director Jack Hill had his camera all over her. Blaxploitation sure lives up to its name in this bad boy. So much gratutitous nudity. Am I hating because Jack Hill is essentially the proto-Tarantino? Not at all. Foxy Brown is a campy classic for a reason, so I can’t hate. Pam Grier plays the titular role, all hips and boobs in the opening credits, doing her little jiggy disco dance.

Foxy Brown is best appreciated without any sort of context. Just plunge in and let the ludicrousness take you places.

I will say though that the film went harder than I expected. I did not expect it to be so dark. I did not expect it to be so gruesome in the way that all ’70s films seem to be with their bland, washed-out ’70s colors, the garish, thick globules of fake blood, the floral prints–OH THE PRINTS. Like the best ridiculous dramas, there was some totally unnecessary gruesomeness.

Beauty aside though, Grier is the main draw to this film and it’s strange because I’m not convinced in this movie nor in Jackie Brown that Grier is a particularly gifted actress.

But she has that camera presence. You can’t take your eyes off her and it’s not just (again, it must be said) because she’s so gorgeous. It’s because there’s  something impulsively compelling. Her soft, clipped style of speaking and the amateur nature of her acting is really charming. That sounds condescending, but I mean it as highest praise.

Anywho, I think I’m done with ’70s films for a while.

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