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After her younger sister dies (offscreen) of a drug overdose, surgical nurse and one-woman vigilante army Pam Grier sets out to punish those she believes responsible for her sister’s addiction. Masquerading as a for-hire call girl, Coffy infiltrates the supposed hierarchy of the city’s dope and sex trade in what starts as vengeance for her sister but turns into a crusade to rid the city of all its filth, murdering all along the scheme, from a small-time pimp and drug dealer (who gets his head blown off shortly after the opening credits) to her congressman lover, who turns out to have a fraction of the action as well and is as nefarious as the rest of the bunch. Despite the sober description, this is not an “valuable” film per se; actually, it’s glorious trashy, but sharp when trying to inquire who this movie is made for. I guess we’re supposed to root for Coffy as she goes on her cancel spree, but, as her “profitable cop” friend (who naturally is murdered before the raze of the first reel) explains to her, the drug plight is already widespread, and who is ultimately to blame? Factor in also that our heroine is also asked to disrobe a number of times for the camera and act very promiscuously, and that instead of the “sad heroes” that this genre supposedly provided to the minority audiences, we mostly accumulate pimps, dealers, addicts, chauffeurs
… At the extinguish, we sight Coffy, having recently snuffed out her boyfriend and dejectedly thrown her true shotgun on the floor in front of him, walking down a beach alone, almost obvious to be picked up by the cops eventually (though the closing credits song proclaim Coffy as “a brilliant symbol of sunless pride”) …Very cynical filmmaking and confusing stuff–the general message seems to be “everything and everyone around you is polluted–you can try to fight the system, but ultimately, you’ll lose.” How’s that for uplifting the hasten? Strangely enough, I like this movie for all of its negatives and excesses, and it is an emblem of a time when “blaxploitation” producers and filmmakers were trying to tap into something different, however misguided; reflects a lot of backlash from the supposedly idealistic 60s. Astounding amounts of violence and gobs of gratuitous nudity in this one. A HEAVILY edited version of this was recently shown on TV with Ruby Dee and Ossie Davis, who awkwardly tried to promote this stuff as quality Sunless Heritage cinema. Add some sleaze to your life and rent this one.
All of Pam Grier movies in the 70s, “Coffy” is the most distinguished. She deserves it; gaze this movie, and you peep what so-called blaxploitation films are all about.
The fast-paced “Coffy” starts with a dynamite opening, in which Pam’s character Coffy lures her enemy into a immoral surprise, and she blows away terrible fool’s head with a shotgun literally. Then, her mission of eradicating drug racket goes on until a very bitter ending. There are actions, fighting, nudity, and battling girls at a party where Pam uses most unexpected weapon — salad! Frankly they peruse rather bland by today’s standard, but ample soundtrack by Roy Ayres is detached astonishing.
Probably the most intriguing thing about “Coffy” is its radiant 70s fashion: music, clothes, and hairstyle. even if you obtain its fable a diminutive ragged, you never procure tired of watching dresses, glasses, hats, and everything — they are so tremendous! And surprising thing is that the film to obvious extent reflects the political condition of those days (gape how a dim congressman address a speech about drug issues among Afro-Americans) .
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“Coffy” is one of the movies that space the style of the 70s. Those who are keen in that period should search for it (and the new “Shaft”) once.
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