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Posts Tagged ‘Jerry Jones’

Walking the Edge

Monday, August 16th, 2021

I watched WALKING THE EDGE because it came out on blu-ray from Fun City Editions – who seem to have an eye for ‘80s urban crime movies with a bit of an arty edge – and because it stars Robert Forster. I had just enjoyed him in ALLIGATOR, which is a much better movie to me, but it almost doesn’t matter. This is another one that for all its good qualities is about 85% running on the fuel of Forster’s charisma and acting choices.

It’s a simple story. He plays put-upon L.A. cab driver Jason Walk, who reluctantly picks up a fare one day (the cab is kind of a front – he really working for a mobster called “the Fat Man” [Bernard Erhard, voice of Cy-Kill on GoBots] and tries to avoid actual work), not knowing she’s on a revenge spree. At her first stop Christine (Nancy Kwan, THE WORLD OF SUZIE WONG) splatters a guy’s chunky blood across a window while Jason sits in the cab obliviously grooving out to jazz. At the second stop he sees her get in a shootout with some guys at a garage and while the two of them are driving away yelling at each other he realizes she’s been injured (not from a bullet – from a hubcap thrown at her like a Frisbee!), feels bad and brings her to hide out at his apartment. (read the rest of this shit…)

Top of the Heap

Wednesday, September 9th, 2020

Christopher St. John was a stage actor and member of the Actor’s Studio who had been in FOR LOVE OF IVY and HOT PANTS HOLIDAY and then was up for the title role in SHAFT. He didn’t get it, obviously – instead he played the supporting role of the militant Ben Buford. But that was enough to inspire him to invest his money in this independent starring/writing/directing/producing vehicle with ads billing him as “Christopher St. John, whom you last saw in SHAFT.”

Because of that connection, and because it’s a 1972 movie dealing with the Black experience, with some guns and a soundtrack by J.J. Johnson, it is sometimes lumped in with Blaxploitation. It’s not that at all. Frankly I prefer movies where the exploitable elements are more prominent, but that’s obviously not what St. John was interested in, and that should be acknowledged. This is an arty, experimental and political work that reminds me much more of Jules Dassin’s UP TIGHT (co-written by Ruby Dee), Melvin Van Peebles’ SWEET SWEETBACK’S BAADASSSSS SONG and Bill Gunn’s GANJA & HESS than SHAFT or SUPER FLY. It’s more about an impressionistic depiction of societal sickness than, you know, traditional entertainment. For what that’s worth. (read the rest of this shit…)