Comic actor Marlon Wayans‘ next screen role could turn out to be portraying a real-life comedy icon.
EW.com reports that Wayans is in talks to play Richard Pryor, the groundbreaking comedian whose troubled life will be depicted in an upcoming biopic, “Richard Pryor: Is it Something I Said.”
Wayans is reportedly being considered for the part after fellow funnyman Eddie Murphy dropped out of negotiations early on. The film was written and will be directed by Bill Condon of “Dreamgirls,” who originally shopped it as a vehicle for Murphy.
Sources at the Entertainment Weekly that Wayans, best known for such over-the-top comedy films as the “Scary Movie” franchise and “White Chicks,” impressed producers in a 13-minute screen test in which he “transforms into Pryor.”
The Pryor project, scheduled to begin shooting in the spring, is being made by Sony Pictures and Adam Sandler‘s production company. Variety.com reports that Sandler is considering playing a small role as Pryor’s first agent.
Budgeted at about $20 million, the movie will cover Pryor’s controversial life and career as a raunchy standup, beloved movie star and troubled drug addict who famously set himself on fire while freebasing cocaine.
Pryor died in 2005 at age 65 after a series of health problems, including multiple sclerosis.
Without question, one of the most breathtaking beauties to emerge out of the 70′s ”Blaxploitation” era was actress Vonetta McGee. This lovely sister, born in San Francisco on January 14, 1945, possessed the complete package; looks, talent and determination which should have made her a marquee name in Hollywood. Instead, this tantalizing, tan, and talented lady found herself in in the land of Blaxploitation, where her some would considerable her talents were laid to waste.
Although the air was thick with civil and social issues, still, a beauty such as Vonetta’s would rarely go unnoticed. She was encouraged to participate in the Miss Bronze California beauty contest, where she walked away with the crown. A film career followed and Vonetta took off for Europe where she earned small roles in several low-budget movies. She returned to the States in 1969 and won a small part in the film The Lost Man, which starred Black screen icon, Sidney Poitier. The film got her some notice, but it would be three long years before she would get her first major movie role.
The Lost Man Movie Poster is a part of The Museum of UnCut Funk collection
In 1972, Vonetta was cast in the murder mystery Melinda, playing the title character. Although her part was small (she is murdered early on in the film), it was vital, earning her rave reviews from both the New York Times and Village Voice, which both proclaimed her “the most beautiful woman in film!”
Melinda Movie Poster is a part of The Museum of UnCut Funk collection
Over the next few years, Vonetta’s resume would fill up with leading lady roles in “blaxploitation classics” such as Blacula, Shaft in Africa and Detroit 9000. She was working steadily but the roles were far from challenging. More often than not, she was cast as the supportive, understanding girlfriend, whose primary lot in life was to look cute and not get in the way of their super-macho male co-stars. Whereas Pam Grier, at the same time, was cementing herself as Hollywood’s first Black Super-Woman, Vonetta was still waiting for the meaty role which would make her a household name. Ironically, she had lost an opportunity to play a super-heroine herself when the lead role in the 1973 film Cleopatra Jones, which was written by her then boyfriend, Max (Julien of The Mack fame), went instead to super model Tamara Dobson.
Blacula, Shaft in Africa and Detroit 9000 Movie Posters are a part of The Museum of UnCut Funk collection
Throughout the period, Vonetta continued to work but had yet to see an A-Budget script. In 1975, that changed when Clint Eastwood chose her to star alongside him in The Eiger Sanction, which he also directed. It was a bit of cinematic history, being that it was the first time a Black actress had been cast as the female lead in a mainstream Hollywood film opposite a white actor. Sadly, the role gave Vonetta about as much to do as her “Blaxploitation” films had, leaving her still knocking at stardom’s door by Hollywood’s standards.
More of Vonette’s Filmography in Movie Poster Art Form:
1968: Faustina
1984: Repo Man
1990: To Sleep with Anger
Contributor: Keith Brooks
The Museum of UnCut Funk is shocked and sadden at the passing of Vonetta McGee on July 9, 2010.
Some would argue that if there was one actress that threatened Pam Grier’s reign as America’s Black glamour queen of the 70′s, it was the bewitching bronze beauty Judy Pace. A former Ebony Magazine model, Judy was a modern day Queen Neferteri, with sexy bedroom eyes, pouting full lips, all gloriously displayed on a petite chestnut brown frame. In color-conscious Hollywood, Judy became one of the first dark-skinned dramatic actresses to be recognized as a sex-symbol. The Daily Variety once referred to her as The most beautiful woman in Hollywood.
Southern California born and bred, Judy was one of five kids raised in a middle-class Los Angeles environment. After graduating from high school, she attended Los Angeles City College where she majored in sociology. She was enticed away from college with an offer to join the prestigious Ebony Fashion Fair. Judy harbored no aspirations for a film career, until one pratically fell into her lap. Director William Castle (House on Haunted Hill, The Tingler ) saw her pictures in Ebony and chose her for a part in his film 13 Frightened Girls. Upon completion of the film, young Judy was now smitten with the Hollywood bug. She wanted to be taken seriously so she began taking acting classes, and performing in L.A. theater. Small parts on television and films developed, leading up to Judy’s first major role in the 1968 film Three in the Cellar.
Judy followed up her success in Three in the Attic with another groundbreaking role, this time on the small screen. After losing out to Diahann Carroll for the role of Julia, Judy won a nice consolation prize, landing a part on the popular 60′s night time soap Payton Place. Judy played Vickie Fletcher televison’s first Black female antagonist. Judy’s Vicki character was bad to the bone, manipulative, a liar, Vicki basically ruined the lives of just about everyone she touched. When Payton Placewas finally canceled in 1969, Judy was offered the lead in a new, “hip” made-for-TV film called The Young Lawyers. With a very ”60′s,” theme, Judy plays one of three young lawyers who take on cases dealing with the poor and oppressed. The film would later be turned into a weekly series, with Judy reprising her role.
Judy continued to shake things up on the big screen when in 1970, she starred in the first Hollywood produced and financed film directed by a Black, Cotton Comes to Harlem. Directed by actor Ossie Davis, Cotton Comes to Harlem was derived from the writings of Black novelist Chester Himes. Given a main stream budget, the film became the first Black action block buster paving the way for what would later be deemed Hollywood’s blaxploitation film era of the early 1970′s. In many ways Cotton Comes to Harlem was very stereotypical in its depiction of Blacks. However it succeds because it is able to give off that certain “coolness” and vibe which are indicative of the Black experience in America. The film is centered on charlatan black leader Rev. Deke O’Malley (played by Calvin Lockhart), who plans to steal the money of poor Blacks with a bogus back to Africa movement. With an all-star cast that included Godfrey Cambridge, Raymond St. Jacques, Redd Foxx, Clevon Little and Lockhart, Judy more then held her own. Playing Iris, O’Malley’s sexy, hot-tempered girlfriend, Judy nearly steals the movie as she vamps, seduces, and even commits murder for the man she loves.
Cotton Come to Harlem Movie Poster is from the The Museum of UnCut Funk collection
Cotton Comes to Harlem appeared to be the vehicle that would launch Judy into superstardom, but in reality, it would be her last major role. The blaxploitation era she helped to usher in created roles for Black male actors, but very few films gave Black women, with the exception of Pam Grier, much to do. Hollywood completely missed the message of Cotton Comes to Harlem by assuming that Black audiences wanted shoot-em-up action flicks with Black super-heroes. In a nutshell, Black audiences wanted the same thing white audiences wanted, good movies.
Movie Poster art from Judy Pace Filmography:
1970: Three In The Cellar
1973: Cool Breeze
1972: Frogs
1973: The Slams
Cool Breeze and The Slams Movie Posters are from The Museum of UnCut Funk collection
Contributor: Keith Brooks
“She’s the Godmother of them all…The Baddest One-Chick Hit Squad that ever hit town!” So promised the 1973 promotional poster for the American International Pictures release of Coffy; whose star was a luscious afro-sporting, gun toting, buxom Nubian princess named Pam Grier.
The definitive sex symbol of the 1970′s, Pam single-handedly changed the image of females in film; from helpless victim to that of independent tough heroine. She was Wonder Woman without the red,white and blue tights. She was a female warrioress, who didn’t need to butch it up, when it was time to get mean (a la the shaved head Demi Moore in G.I. Jane), or take enough steroids to outflex Arnold (ya hear me Terminator’s Linda Hamilton). Pam was a bad ass avenging angel, who always exuded femininity, confidence and sexuality.
Born in Winston-Salem, North Carolina, Pam was the daughter of U.S. Air Force mechanic Clarence Grier and his nurse wife Gwendolyn. As a child, Pam lived the typical nomadic existence of a military brat. The family finally settled down in Denver, Colorado, where Pam graduated from high school. She later attended college as a pre-med student. Not a rich girl, Pam entered several local beauty contests to earn extra money for tuition. It was during one of the pageants, that she was spotted by a Hollywood film agent who felt she had the natural beauty to make it as an actress. Reluctant initially, Pam eventually gave in to the lure of potential stardom and moved to Los Angeles, California. Working as a switchboard operator to pay the bills, Pam enrolled at UCLA, where she began studying acting.
In 1970, Pam made her screen debut in the Russ Meyer bizarre cult classic, Beyond the Valley of the Dolls. That film would however, lead to bigger roles in a series of exploitive B-Movies such as The Big Doll House, Women in Cages (both released in 1971), Hit Man(1972) and The Twilight People (1973). The films were pure camp, with plenty of naked bodies on display, Pam’s delicious curves being one of them. After three years in Hollywood, Pam Grier was nowhere near a marquee name, however she was beginning to make waves. While the movies she was featured in were Z-grade at best, her performances in these films made them at least watchable. It would be her next film, Coffy, which would carry her from wannabe to the Queen of American International Pictures (AIP).
Big Doll House, Women in Chains, Hitman and Twilight People Movie Posters are a part of The Museum of UnCut Funk collection
Coffy was a jagged-edged, low-budget film about a nurse, who after witnessing her sister becomes strung out on drugs, metamorphoses into a single-minded vigilante bent on waging a one-woman war against the city’s drug lords. Coffy is not afraid to use any and all means necessary, including her voluptuous body, to extract her bloody vengeance on the mobsters, crooked cops and dirty politicians behind the endless flow of narcotics on the streets. Many Hollywood film critics quickly wrote Coffy off as cheap, exploitative B-movie fare. However, what they failed to factor into the equation was the effect this unexpected keg of dynamite named Pam Grier would have on her audiences. Despite the paper thin plot, Pam danced through the role of Coffy with such conviction and fire, that you find it impossible to not only enjoy her performance, but believe it as well. In the hands of a lesser actress, the film’s shallowness would have been exploited in droves. However, Pam had the grittiness, sex appeal and toughness of mind to ensure that in a forgettable film, she was definitely not a forgettable actress.
“Coffy” is from The Museum of UnCut Funk collection
Pam continued down her path to stardom, recreating her Super Soul Sister role several times in films such as Foxy Brown and The Arena which were both released in 1974, followed by Sheba Baby, Bucktown and Friday Foster the following year. Unfortunately, the quality of the films continued to be taken from the so-called blaxploitation fountain that flowed freely out of Hollywood. Still, it was hard to deny her obvious feminine charms and appeal. New York Magazine went so far as to dub her “Sex Goddess of the Seventies!” While Pam continued to build up a strong (predominately male) audience; her radical film image had not yet attracted a female following. In fact, Pam became the object of criticism from some feminists, as well as from the Black community. Women in the seventies, particularly Black women, had a hard time accepting and identifying with Pam’s gun toting, blouse dropping, sharp tongue super-heroines. The Black media also found it difficult to anoint the brazen Ms. Grier as the successor to Lena Horne and Dorothy Dandridge. Instead of viewing her as a maverick, a glamour queen of the times, Blacks turned their back on Pam box office success, viewing her not as a trendsetter and pioneer, but as a cinematic freak show performer.
Foxy Brown, The Arena, Sheba Baby, Bucktown and Friday Foster Movie Posters are a part of The Museum of UnCut Funk collection
Pam’s image problems stemmed from the fact that she was walking on untested ground for Black women (and in many ways, women in general). In the history of American film, there had never been a Black woman portrayed with so much raw sexuality and fiery independence. Pam’s characters had male lovers, but they were never defined by them, nor controlled by them. Pam’s Coffy and Foxy Brown characters did not stay behind while their men (Jim Brown or Fred Williamson) stomped on the bad guys, nor were they the kind who would be just whisked up in a man’s arms and taken to bed. Pam’s Friday Foster and Sheba Baby characters were just as adept at butt kicking as any macho man on screen. And as far as the bedroom was concerned, she always had the final sayso on who entered it and when. Interestingly, among Pam’s few female admirers at the time, was Gloria Steinem, publisher of the ultra-feminist Ms. Magazine, who saw Pam for what she was, a strong independent woman; going so far as to label her “Super Sass!”
As the decade closed, American International Pictures, the house that Pam built, dropped her like a bad habit. Formerly one of the busiest actresses in Hollywood, Pam’s career became tepid at best. Her career would get a critical boost in the 1980’s for her mesmerizing performance as a psychotic hooker in 1981’s Fort Apache The Bronx. Unfortunately, roles such as that were few and far between for Pam. By the nineties, her career had practically come to a halt; it would take a maverick director, with a fetish for 70’s cult movies to bring the black queen of action films back to relevance. Quentin Tarantino had set Hollywood on fire with two violent, twisted, yet masterfully intriguing films; Reservoir Dogs (1992) and Pulp Fiction (1994). Combining the stylish film noir of the 1940’s and 50’s with the uninhibited, gore of 60’s-70’s grindhouse, Tarantino had injected Hollywood with much needed creativity and originality. His next masterpiece would be the resurrection of the blaxploitation film, and to do this, Tarantino knew he needed an actress bigger than life. He needed Pam Grier.
Jackie Brown was tailor made for the comeback of the former Queen of AIP. Playing a struggling airline stewardess who gets caught in the violent world of drug trafficking, Pam’s Jackie is a survivor, able to give as good as she gets. The film wasn’t the critical success of Tarantino’s other films, but it did bring in a hefty $70 million worldwide. Pam Grier was back, and roles, worthy of this fiery, independent actress soon begin to flow in. Pam would go on to star in the films Jawbreaker (1999) and Snow Day (2000), and even got her own short-lived television show, Linc’s in 1998. In 2004, she became a cast member on the highly successful Showtime series The L Word.
For Pam Grier, the more than thirty year struggle to find that elusive glass slipper seems over. Today, her old films are enjoying a huge cult following among men, as well as attracting a new generation of female viewers who can now identify and appreciate her strong, independent characters. While recognition as a powerful actress, role model, sex symbol and pioneer was more often then not, a frustrating journey; Pam, like the super-hero she always portrayed, eventually won in the end.
Contributor: Keith Brooks
