When a pusher by the name of “Link Brown” (Antonio Fargas) loses half a kilo of of cocaine worth about $20,000, his suppliers become irate and send two thugs to work him over. Desperately needing help he calls his sister “Foxy Brown” (Pam Grier) to rescue him from the two goons. She manages to get to him before they can grab him and puts him up at her place for a few days completely unaware of the exact nature of his predicament. In addition to that, her boyfriend “Michael Anderson” (Terry Carter) is an undercover cop who has just undergone a face-lift and assumed a new identity because the same suppliers have a contract out on his head. Things begin to take a turn for the worse and Foxy Brown suddenly has a score or two to settle with some major league drug dealers.
Like many blaxploitation films during this time the dialogue and fashions cause FOXY BROWN to seem dated, but in a good way! FOXY BROWN was actually written and shot to be a sequel to director Jack Hill’s previous film, COFFY where Grier played a nurse with a bad attitude and a penchant for taking her aggression out on mother**kers who wronged her. For some reason, the studio forced Hill to make Foxy Brown stand-alone at the last minute, changing… well, nothing really.
The opening credits to FOXY BROWN are badass, like a funked-out version of a Bond intro with Foxy dancing around in front of multi-colored backgrounds, all the while rocking her outfits from the film. The title sequence employ almost every trick in the title design book, from image rotoscoping and solarization to multi-layered optical animation and colorization.
One of my favorite scenes in FOXY BROWN has to do with one of Foxy’s friends, who, though she is supposed to be laying low (people need to “lay low” often in Foxy’s world), wanders into a lesbian bar and Foxy has to get her out. This lesbian bar needs to be seen to be believed. All of the women dress like teamsters, only more macho. And in a wonderful endorsement of equal rights, these female bar patrons are just as violent, rude, and prone to fight over nothing as any beer-belching men.
Trust me – don’t miss FOXY BROWN when it screens at the Missouri History Museum Sunday, October 11th at 5:00pm
The St. Louis Classic Black Film Festival audiences are a mix of African-American, culturally diverse, sophisticated, film lovers and the SALUTE TO CLASSIC BLACK ACTRESSES will be a great way to celebrate the careers of these talented women, especially Pam Grier!
A Facebook invite for the SALUTE TO CLASSIC BLACK ACTRESSES event can be found HERE