News

After all the debates, controversies, and stereotype accusations have cleared, looking back on Blaxploitation cinema today it’s easy to see healthy portions of the crime and action genres. Using these genres and the struggles of the black community, these films were created for those that wanted to see African American characters on the big screen not taking shit from the man, “getting over”, and–above all else—being the heroes in movies. In the documentary Baad Asssss Cinema, Samuel L. Jackson gives his take on the heroes of Blaxploitation: “We were tired of seeing the righteous black man. And all of a sudden we had guys who were…us. Or guys who did the things we wanted those guys to do.”

The unsung supporting players in these films that backed Fred Williamson and Pam Grier and many other stars were people acting and making a living off of it.

There is a fine line between stereo-typing and the honest portrayal of criminals in cinema. Films such as Public Enemy (1931), Goodfellas, and both versions of Scarface (1932 and 1983) are examples of films both under attack and praised for its portrayal of criminals. Brian De Palma’s version of Scarface especially divides audiences and critics as to whether the character of Cuban import Tony Montana is a racial caricature or an honest look at greed and corruption. Blaxploitation cinema’s portrayal of criminals is no different drawing criticism from the African-American community, especially Rev. Jesse Jackson and the NAACP. The pimps and drug pushers in Blaxploitation cinema are considered just the same, walking the line of stereo-type and being socially conscious.

#5 The Candy Tangerine Man (1975)

Written by Mikel Angel

Directed by Matt Cimber

“Your cash ain’t nothin’ but trash.”

The Baron is a Sunset Blvd pimp that pushes his women to...