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THE ONE CHICK HIT SQUAD!Regarded as one of the best of the Blaxploitation genre along with Shaft and Superfly, Coffy has been described as one of the most entertaining films ever made by Quentin Tarantino.
With Coffy Pam Grier was catapulted to stardom and iconic status following solid roles in earlier chicks in chains films. Here she plays nurse Coffy Coffin seeking vigilante justice when her little sister is hospitalised by a smack pusher. Coffy uses her body, bullets and blades to get justice, working her way to the top of the criminal ring. But as she nears the top she finds the level of corruption is closer to home than she thinks.
When American International Pictures lost the chance to make Cleopatra Jones the studio looked for another project and turned to up and coming B-movie auteur Jack Hill (Spider Baby, Pit Stop). Coffy was such a success that the studio fast tracked Grier s next movie (Foxy Brown) with Hill straight away.
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Blu-ray picture quality looks fantastic in HD
Features include a commentary, interviews, trailers and more,
You get a nice booklet with 10-pages of text, reversible sleeve with original 70's art.
Region B only, 90-mins, 1973
King George appears on the scene looking like Dolemite. Whack-a-da music abounds as does Pam Grier. Like one of the character's says, "I just want to get high and watch." A favorite film of drive-in movies. Includes a young Sid Haig and break away clothing cat fight.
Guide: F-bomb, sex, ample nudity (Pam Grier, Lisa Farringer, Marilyn Joi, Peaches Jones plus others)
It's a hyper violent ride of a movie and you can easily see why Quentin Tarantino rates this movie as one of his favourites.
The script is sharp and acting all round is great with a tight direction and a movie dipped right into the undercurrent of the 1970's. Also has a great soundtrack to boot.
For it's genre Coffy quite possibly is the greatest of them all.
Folks, they simply don't make em' like this anymore.
With the money so tight it’s certainly not action packed, and when the carnage starts it’s relegated to the low rent district, but there’s enough attitude and the drive-in exploitation staples of punchups and gratuitous nudity to keep things moving for 90 minutes as Grier’s nurse goes from literally blowing the head off the dealer who got her kid sister hooked on drugs to taking on the real power as she works her way up the food chain after her friendly neighborhood cop William Elliott takes a beating that leaves him a near vegetable when he refuses to go on the take with his fellow cops. Throughout it all she lives a double life, keeping her ass kicking activities quiet from her co-workers and her upmarket progressive local politician boyfriend Booker Bradshaw (though she doesn’t have a batcave or superhero costume, there’s very much a comic strip quality to her vendetta).
Grier, one of the few 70s female exploitation film stars who could somehow deliver the required nudity (Coffy’s a liberated woman – but not that liberated) without looking like a dumb bimbo or her characters losing their strength and having to rely on a man to save her, is almost the whole show here, hiding makeshift weaponry in her Afro, getting into catfights with lesbian pimps or hookers in really flimsy blouses (naturally resulting in yet more gratuitous nudity) and flattering legendary photographer Diane Arbus’ husband as a kinky Italian mobster by asking him “Are you sure you’re not just a little black?” while feekling him up, even walking off into the sunrise as the end title song extols her as ‘a shining symbol of black pride.’
It’s a film with typically bleak 70s worldview: made at a time when, for all the rosy hued nostalgia of the Peter Barts of this world, everyone thought the world was going to Hell in a handcart and taking the film industry with it, the law is in for a piece of the action, the politicians may make speeches about the Man keeping the brothers down but privately admit “Black, brown or yellow, I’m in it for the green!” The only time things really brighten up is when Robert Duqui’s pimp King George gets a great entrance in outrageous threads and his own personal theme song, and you just know he’s not long for this world, but most of the fun comes from the release of Coffy’s righteous anger. Seen today and in the wake of other bigger and sometimes better female blaxploitation films it looks a little ragged, the script not as ambitious as Grier’s subsequent Foxy Brown in allowing her to be fully in control (in the end she’s almost fooled by a fickle male who makes her come over all self-doubting and vulnerable, something Foxy would never have allowed to happen even if Coffy does come up with a particularly direct bit of revenge), but it’s still an entertaining exploitation flick that has an undeniable raw energy that got smoothed away in later genre entries. And any film that boasts the credit ‘and Sid Haig as Omar’ is worth a look.
Arrow’s Region B Blu-ray release offers what is probably the best transfer we can expect of a film this low budget, with decent definition and no problems coping with the film’s many nocturnal scenes, and unlike Kino Lorber’s movie-only US Region A-locked Blu-ray comes with a wealth of extras – new interviews with Grier and Hill, featurette on Blaxploitation films, very brief stills gallery, trailer, BOOKLET and Hill’s audio commentary from the old US DVD release.
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a classic action 70-cult filmmovie