Black Coffy and disco

Blaxploitation at the end of a shotgun

There is a point to be made about the effects of ’70s grindhouse cinema on the current palette of American moviegoers. Characterized by extreme violence, sex and a generalized sleazy quality, grindhouse film catered to the basest carnal desires of its audience. 1973’s Coffy has it all – gory blood-drenched fight scenes that dismember body parts, sex scenes that function solely as a way to expose breasts, and a storyline revolving around enacting vengeance on drug dealers. That isn’t to say that Coffy is a bad movie – it isn’t ﾌ_- it’s just that we are used to having our sleaziness packaged a little more subtly. The film functions best as portrait of a time in America. It is gritty and strange, definitely unreal, but a reaction to the changing political climate of the 1970s. New York City really was dirty back then and the racism was entirely apparent (as opposed to the mostly hidden racism present now). Also of note is the female empowerment angle of Coffy, whose main character (played by Pam Grier) kills the men who abuse her (even if it’s with the directly phallic symbol of a shotgun). Quentin Tarantino fans will find a lot to like in Coffy, as his Jackie Brown is pretty much a direct homage to both Grier and blaxploitation cinema in general.

Coffywill play August 17 at 9 p.m. at Hotel Deluxe (Southwest 15th and Yamhill) with live music beforehand by The Mouse that Roared.

Disco sucks and so does this movie

Nothing makes me immediately dislike something like the inclusion of disco. Xanadu is like the shining star of annoying ’70s bullshit (yet it came out in 1980). The story goes something like this: a Greek muse is reincarnated to help a rich man build a disco arena. Then musical numbers ensue. This movie tanked when it was released, but somehow became a kind of cult classic.

Xanaduscreens August 10 at 9 p.m. at Hotel Deluxe with live music beforehand from Per Se.

A look at Havana

Suite Havana is a film that aims to document and illustrate the city of Havana. There is no verbal dialogue to speak of – instead the film communicates the diversity of the city through musical and field recordings. These recordings are artfully put together using visual footage, creating a tone for Havana that is more about emotion than information. Suite Havana isn’t for everybody, but it does work as a type of portrait of the city that as Americans we will likely never see.

Suite Havana will show August 11 at 9 p.m. and August 12-13 at 7 p.m. at Whitsell Auditorium.