The Screengrab : foxy brown

Screengrab Presents: Cinema’s Greatest Comebacks (Part Two)

Andrew Osborne — Thu, 18 Dec 2008 21:30:00 GMT

PAM GRIER in JACKIE BROWN (1997)

I suppose this one doesn’t entirely count as a comeback, since the former blaxploitation star of urban classics like Coffy and Foxy Brown has yet to land another starring role as meaty as Jackie Brown, the drug-mule stewardess who outsmarts both her murderous boss (Samuel Jackson) and the feds on her tail before riding off into the sunset with a suitcase of cash in Quentin Tarantino’s underrated adaptation of Elmore Leonard’s Rum Punch. Then again, hardly any actresses (especially those of, ahem, a certain age) get to star in major motion pictures as realistically smart, complex, vulnerable women like Jackie, who succeed not with machine guns or sex (although there’s plenty of that simmering just under the surface in Grier’s palpable chemistry with Robert Forster, as bail bondsman Max Cherry, Jackie’s reluctant partner in crime -- one of the great screen couples of all time), but rather through believably human ingenuity and courage. Yet, at the very least, Grier finally earned some overdue respect as an actress from those who’d previously looked down on her B-movie roots, and though she didn’t win an Oscar for her Oscar-worthy career best performance, she at least caught a second wind in her career as a character actress, with relatively high-profile gigs like Jane Campion's Holy Smoke and The L Word...though, come to think of it, maybe it's time for yet another Pam Grier comeback so those of us without Showtime can maybe see her a little more often.

ROBERT ALTMAN, THE PLAYER (1992)

The rise and fall and rise of Robert Altman is well-known to movie geeks, but no list of great cinematic comebacks would be complete without a nod to the director who rose to prominence during the anything goes, lunatics-running-the-asylum ‘70s era of American filmmaking, when Uncle Bob churned out a head-spinning number of modern day classics like M*A*S*H and Nashville before biting the Hollywood hand that fed him one too many times and getting banished to the wilderness, only to raise his career from the dead once again by chomping down even harder on that very same Hollywood hand. After foolishly viewing film as a creative means of expression (rather than the branding mechanism and product placement delivery system we now know it to be), Altman was kicked to the curb by the powers-that-be once the Suits reasserted corporate control of the studios in the early eighties. Not only was Altman an idealistic pothead who wouldn’t know a high-concept Eddie Murphy vehicle if it bit him in the ass, but he was OLD, a condition the New Hollywood power elite feared might be contagious. Yet even in exile, Altman found a way to keep on keepin' on: he was an early adapter of cheap, indie video technology, which he used to keep his director-fu sharp with adaptations of stage plays like Secret Honor and prescient experiments like the political fictumentary Tanner ’88, all of which helped him to eventually reboot his career thanks to an independent film about Hollywood full of cameos by old friends and (at least according to Wikipedia) unpaid stars who just happened to show up at the L.A. locations where Altman was shooting and agreed to improvise some lines. The Player, a critical and financial success, was nominated for an “all-is-forgiven” Oscar that gave Altman the clout to work fairly steadily for the remainder of his life, generating both hits (Short Cuts, Gosford Park) and misses (Prêt-à-Porter, Kansas City)...any one of which remains far more interesting and unique today than all the Transformers in Toy Town.

DANIEL DAY-LEWIS in GANGS OF NEW YORK (2002)

In the late eighties and throughout the nineties, Daniel Day-Lewis developed a reputation as one of the world's finest and most versatile actors, due in no small part to the exhaustive amount of work he put into his characterizations. Eventually, the work began to take its toll, and following 1997's The Boxer, Day-Lewis took an extended sabbatical from acting. After five years pursuing various interests (like spending time with his family, not to mention those strange rumors about an apprenticeship with an Italian cobbler) Day-Lewis was finally lured back into the business by his onetime collaborator, Martin Scorsese. Once on board, Day-Lewis threw himself completely into the role of Bill "The Butcher" Cutting as he had with his other great performances, going so far as to speak in the character's voice even when he wasn't on the set. The result was a Day-Lewis performance completely unlike any he'd given before, making Bill a ferocious villain who rules the city by virtue of being the most ruthless monster to prowl the streets. Yet what makes the performance truly scary is his unpredictability, whether he's menacing his former lover with a set of throwing knives ("whoopsie-daisy!"), tap-tap-tapping a dagger against his glass eye, or standing over the body of a man he's just killed with a look-at-what-I-just-did smirk on his face. Day-Lewis has often spoken about how each performance makes him feel uneasy about whether he'll ever act again, and with such single-minded devotion to his craft it's little wonder that he feels that way. Yet it's also this devotion, coupled with Day-Lewis' genius, that makes each of his performances feel like a gift, and we undoubtedly have Scorsese to thank for making his subsequent performances -- including his towering turn as Daniel "Draaaaaaaaaaaaaaainage!" Plainview- possible. And you say his next movie is a musical? We can't wait.

ALEC BALDWIN in THE COOLER (2003)

When Alec Baldwin turned up in a supporting role in the 2003 Mike Myers vehicle The Cat in the Hat, reviewer David Edelstein wrote that, "The movie's grim subtext is the wreck of Baldwin's career — how puffy he looks, and how he never manages to rise above his material." One week later, The Cooler opened, and Baldwin was on his way to Academy Award and Golden Globe nominations for his smooth, multilayered performance as a Las Vegas casino operator who, to his surprise and despair, discovers that he does actually have a heart. Baldwin had always been something of an odd man out among Hollywood A-listers, a classic example of a character actor in a leading man's body: he seemed a little dull trying to play the action hero (The Hunt for Red October, The Shadow) or lover boy (Prelude to a Kiss) but seemed happily liberated whenever he got a crack at playing psychos (Miami Blues, The Juror) or scumbags (State and Main). His role in The Cooler was a personal breakthrough because it gave him the chance to play a scumbag (with psycho tendencies) who had the depth to find himself conflicted, and also to show off both his comic and dramatic chops to a new degree, leading indirectly to his full-blown career renaissance on TV's 30 Rock.

MARTIN LANDAU in TUCKER: THE MAN AND HIS DREAM (1988)

Landau, whose attention-getting performance as the assistant baddie in North by Northwest was followed by several seasons as the master of disguise on TV's Mission: Impossible, never flew as high in his early movie career as some of the names on this list, but he managed to fall farther than just about any of the others anyway. After leaving Mission: Impossible in a contract dispute and taking his wife and co-star Barbara Bain with him, Landau spent fifteen or so years adrift in horror and sci-fi pictures barely worthy of the name, as well as such august TV productions as The Harlem Globetrotters on Gilligan's Island and The Return of the Six Million Dollar Man and the Bionic Woman. Somehow, Coppola decided to throw him a lifeline when he was casting his long-deferred dream project about the car designer Preston Tucker, and Landau's performance -- a shaft of cranky warmth cutting like a light saber through a hollow movie, coming from an actor with a semi-familiar name but with a face so changed since the last time most viewers had seen him that he was all but unrecognizable -- is the only thing fondly remembered from that picture. Landau got an Oscar nomination and a leading role in Woody Allen's 1989 Crimes and Misdemeanors. He eventually did win an Oscar, for playing the washed-up, half-crazed Bela Lugosi in Ed Wood (1994). Speaking about that performance later, he was quick to give credit to his own years in the show business wilderness; they'd given him a pretty good idea of what Lugosi had gone through.

Click Here For Part One, Three, Four & Five

Contributors: Andrew Osborne, Paul Clark, Phil Nugent

The Screengrab Holiday Special: Movies We’re Thankful For (Part Six)

Andrew Osborne — Thu, 27 Nov 2008 17:30:00 GMT

SARAH CLYNE SUNDBERG IS THANKFUL FOR:

BILLY LIAR (1963)

Billy Fisher is a young man with a well-developed fantasy life and a rather disappointing real one. He lives in some unfun industrial Northern town in drab post-war England. Life after graduation is not all it was cracked up to be — despite working at a funeral parlor that hawks plastic coffins and having two fiancés, plus a girl on the side — Billy still lives with parents and grandmother. His closet is stuffed with calendars pilfered from work and unpublished manuscripts. In his spare time he escapes to his own private dictatorship where he is a leader-war hero and adoring citizens greet him with a "left-handed salute." He also dreams of moving to London to work as a scriptwriter, but doesn't seem to be able to get it together sufficiently to leave. A young and beautiful Julie Christie assures him, "It's easy, you get on a train, then four hours later you are there." Billy is not convinced. I saw this movie when I was about 16 and couldn't wait to get out of the European satellite town I lived in. Like some of the best pop music to come out of England, Billy Liar told me that I was not alone and that others had felt my pain. For this I am thankful.

FOXY BROWN (1974)

I saw Foxy Brown at an underground film festival in my hometown, I think I was in my late teens. Despite the rather ramshackle storyline and low production value I fell in love. Hard. There is this one scene where Pam Grier is getting dressed and ready for business. She's all fierce hotness and a little bit of one of her ample boobs is spilling out underneath her bra. She looks amazingly strong and sexy, but not so perfect that you cannot relate. Meanwhile she is stuffing razor blades into her Afro in order to prepare for a fight. As a teenage girl not particularly happy with the state of things in the world, Foxy Brown impressed me. She has a good job and a useless little brother. She knows no one was going to look out for her if she didn't do it herself. In short, she kept it together in a world that did its best to break her. This was a woman to follow. Over the course of the movie she is bruised, battered, raped and nearly killed. But she is a lady all the way and ultimately she comes out on top. Jack Hill wrote the script, but the movie would be nothing without Pam Grier. Thank you, Pam.

THE GRADUATE (1967)

There are few truths in life that aren't dealt with in The Graduate: love, aging, quashed dreams, generational strife, loneliness. It's a great movie to begin with and gets better with each viewing. (I should know, given that I've seen it upwards of fifteen times.) I think I may have started out just liking the story and the exquisite cinematography. Somewhat later I identified with poor Benjamin Braddock (Dustin Hoffman) and his existential angst. (Who doesn't?) Now, as I begin to enjoy high balls and have accumulated more than my fair share of animal print clothing, I have shifted to feeling more kinship with Mrs. Robinson, Benjamin's aging paramour. She once was an art history major, but after getting knocked up by Mr. Robinson, her life took a more prosaic course than the one she hoped for. Now, she and Ben are two outsiders with vaguely artistic aspirations, too dark and severe for the sunny Southern California they inhabit. In short, The Graduate is like a Nina Simone compilation, the bible, or a nice flask; It'll help you through just about any situation.

Click Here For More Thanks From Andrew Osborne, Scott Von Doviak, Phil Nugent, Paul Clark & Leonard Pierce

Contributor: Sarah Clyne Sundberg

The Screengrab Highlight Reel: May 31-June 6, 2008

Scott Von Doviak — Fri, 06 Jun 2008 21:00:00 GMT

School may be out of the summer, but we’ve still done plenty of learning this week at the Screengrab, on a variety of subjects:

Gender Studies: Heterosexual Males Survive “Sex and the City”

Current Events: When Movies Are Too Timely

Political Science: Harvey Milk and Great Black Presidents

English Literature: No Shit, Sherlock

Seventies Studies: Summer of Sam, The Way We Were and Damien: Omen II

Music Appreciation: OST “Drowning by Numbers”

Statistical Analysis: Screengrab Underestimates Ladies

Social Studies: Taverns on the Screen: Top 10 Barroom Scenes

Comparative Research: Coffy vs. Foxy Brown and Herzog vs. Ferrara

Videos of the Day: Coffy vs. Foxy Brown

Paul Clark — Wed, 04 Jun 2008 19:00:00 GMT

As I wrote previously, Professor Brian O’Blivion’s All-New Flesh for Memorial Day Film (and TV) Quiz is now in full swing at Dennis Cozzalio’s blog Sergio Leone and the Infield Fly Rule. And while many of you have no doubt completed Professor O’Blivion’s exam in a timely manner, I also realize that some (including yours truly) may be taking longer to finish. No doubt some of you are having trouble with some of the questions, and could probably use a bit of a refresher course for some of them.

One I’ve had a bit of a problem with was one of Dennis’ infamous comparison questions, this one relating to two of Pam Grier’s most famous roles. Yes, I was confounded by four simple words: “Foxy Brown or Coffy?” Now, I love me some Pam Grier, but it’s just been so long since I’ve watched either of these that I had some trouble distinguishing between them, and I’d imagine I’m not the only one having trouble. So I did a little research into the question and decided to share my findings with you, for the benefit of all those having trouble.

First, the similarities. Both films are directed by Jack Hill and feature, along with Grier, the one and only Sid Haig. And both films star Grier as a badass who sets out to clean up the streets as revenge for harm done to someone close to her. However, in Coffy the wronged party is her sister, whereas in Foxy Brown it’s her boyfriend who’s the victim. Likewise, in Coffy she’s a nurse, whereas Foxy Brown doesn’t elaborate on her daytime career. And finally, Coffy is one of Quentin Tarantino’s all-time favorite films, whereas Foxy Brown costars Huggy Bear.

Does that help any? If not, check out the trailers. Maybe that’ll do the trick. First, Coffy:

And now, Foxy Brown:

As far as trailers go, Foxy Brown wins hands down- it’s funnier, funkier, and just a blast to watch, while Coffy’s is more conventional and kind of bland. And if there’s one thing Pam Grier could never be, it’s bland. Anyway, I’m still a little unsure of how I’ll answer the question (maybe I’ll be a smartass and answer with “Black Mama, White Mama”), but either way, I’m looking forward to revisiting some blaxploitation classics in the near future.

The Top Ten Action Heroes Who Deserve A Comeback, Part 1

Peter Smith — Thu, 17 Jan 2008 22:30:00 GMT

This week's top ten comes to us from guest writer Gabriel Mckee, friend of Nerve and author of The Gospel According to Science Fiction. Read his fantastic blog here.

Recent years may well be remembered for bringing back the over-the-top action hero. New sequels to Rocky, Die Hard, and Rambo have revived long-dead franchises, and the trend is continuing. Indiana Jones 4 has started filming, and a fourth Mad Max film would have wrapped by now had scheduling conflicts not led director George Miller to make Happy Feet instead. Though it's an easy trend to mock, it opens the door for other action heroes to be resurrected — here are some top candidates.

10. Scott McCoy (Chuck Norris), The Delta Force

Before he was a meme, before he was Walker, Texas Ranger, even before he was a Karate Kommando, Chuck Norris was Maj. Scott McCoy of the Delta Force. This elite antiterrorist strike force, led by Lee Marvin, consists of some thirty soldiers who are highly trained in standing around in the back of a cargo plane while Chuck Norris rides around on a motorcycle killing terrorists. Delta Force came out in the pre-Die Hard world, before we expected our action heroes to have pathos, depth or family troubles. There's not much character to this character, but when it comes to straightforward ass-kicking, Norris is the undisputed master. Norris is ripe for a Stallone-style comeback, and in the and in the age of the War on Terror, a new entry in the Delta Force saga is the perfect vehicle for his revival.

9. Axel Foley (Eddie Murphy), Beverly Hills Cop

Remember when Eddie Murphy made movies that people enjoyed? Barring Dreamgirls, his film career has been on a losing streak for over a decade, putting him just below Robin Williams on the list of actors who need to be rescued from their own careers. A return to the role of Axel Foley, the detective/con man of Beverly Hills Cop, might be the best way to ensure that Norbit never happens again.

8. Jack Carter (Michael Caine), Get Carter

Michael Caine has made a major comeback in recent years, but in most of his recent roles — in Batman Begins, Children of Men,and The Prestige, for instance — he's played the Kindly Old British Guy. It's easy to forget that he made his name playing jerks — first a heartless cad in Alfie, then a brutal-but-suave thug in Get Carter. This story of a London gangster who travels to Newcastle (Britain's equivalent of South Jersey) to investigate his brother's murder isn't as flashy as more recent tales of the U.K. underworld. But Guy Ritchie and Jason Statham nevertheless owe everything to Get Carter's blueprint and Caine's cynical performance. A return to the character of Carter would give Caine a chance to recapture both the grim violence and the effortless sexiness of one of his greatest roles.

7. Jimmy "Popeye" Doyle (Gene Hackman), The French Connection

The most successful action film of the '70s didn't star Clint Eastwood, Bruce Lee or any other established veteran of the genre. The French Connection owes much of its success to Gene Hackman's performance as hot-headed bad cop Popeye Doyle (which earned him his first Academy Award). More than just a tough guy, Doyle is a contemptible bully, and instead of an invincible supercop, his temper makes him a bit of a screw-up. Hackman is still more than capable of this kind of complexity (as proven by The Royal Tenenbaums), and it would be thrilling to see what he could do with this character after thirty-five years.

6. Foxy Brown (Pam Grier)

The 1973 film Coffy established Pam Grier as the undisputed queen of '70s blaxploitation. Foxy Brown (originally intended as a sequel entitled Burn, Coffy, Burn!) justified her ascension — whether infiltrating a high-end call-girl ring, shooting her drug-dealing brother in the ear, or hijacking a drug runner's crop duster, Foxy is "a whole lotta woman." At turns smiling and sneering, she violently opposes an oppressive society symbolized by a white-operated heroin syndicate. Grier has had a slightly higher profile since Quentin Tarantino reintroduced audiences to her charms, but it's been far too long since she's kicked ass like she did in Foxy Brown.

Read PART 2.