Jack Hill: The Exploitation and Blaxploitation Master, Film by Film
Calum Waddell
Language: English
Pages: 224
ISBN: 0786436093
Format: PDF / Kindle (mobi) / ePub
Jack Hill stands as one of the great B-movie directors and influenced an aspiring filmmaker named Quentin Tarantino. The director who gave the world Coffy, Foxy Brown, Spider Baby, Switchblade Sisters and other exploitation classics broke gender and racial barriers in his low-budget work. He launched the careers of Pam Grier, Ellen Burstyn and Sid Haig and worked with Boris Karloff and Lon Chaney in the twilight of their careers. This filmography covers all of Jack Hill's works. Each entry offers alternate titles, cast, credits, a plot summary, extensive critical information, quotes, and an interview with Jack Hill about that particular film.
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regard for ethics or humanity. For all intents and purposes the racing track in Pit Stop represents the wider world: Its financial riches (at least for the winner)— and the initial prestige afforded to him —consume young Rick Bowman to such an extent that he can think about nothing else — and, ultimately, he becomes frigid. “What is wrong with you?” asks his girlfriend Jolene when Rick is unable to make love to her the night before he drives in the championship tournament. On the same 44 2. The
pictures, Pit Stop seems unique in the director’s oeuvre. The key line of Rick’s transformation from ambitious race car driver is when he talks to his girlfriend, Jolene, about Ed: “He’s a big wheel. I hate people who think they’re big wheels.” Here we also see ourselves— who hasn’t wanted to “teach someone a lesson”? But with Rick, this seems more like paranoid aggression —careerism disguised as a personal grudge. Ed’s entire “wrongdoing” is being more experienced than Rick and, thus, being a
unlikely that Corman would voluntarily back out on any deal without a fight, making Dietrich’s story of his taking over the picture without consequence remarkably suspicious. Furthermore, it seems rather stupid for Hill to lie about his involvement in Ich, ein Groupie considering that the feature is simply not very good and it would be all too easy to write the final result off as the handiwork of someone else. His story is backed up by Jane Schaffer, the uncredited producer of the picture, who
characters in later films such as Coffy— this remains disappointing. While Grear is shown, in the movie, to have a sexual interest in women, her dialogue does seem to indicate that it is part of her long stay in prison — whereas her earlier comment “All men are filthy, all they want to do is get at you” may indicate a hatred for men and an abusive past. As such, the film appears to point out that Grear’s lesbianism is a choice — obviously an outdated notion and something that can hardly be defended.
to the original Deathstalker (1983), which Roger Corman embarked on after the mild success he had with Sorceress. It would be easy to write off the script to Sorceress as being entirely the work of Wynorski but Hill himself takes credit for the screenplay (see the Memorie section of this chapter). Sorceress features little of the sharp dialogue that one might expect from the man who wrote Coffy and Foxy Brown and there is no attempt at Hill’s usual genre subversion. Indeed, the movie’s story
