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Lundi, mai 10th, 2010
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I treasure the state keywords listed for the film Dim Sister’s Revenge (1976) aka Emma Mae on The Internet Movie Database…Hit In Crotch, Racial Slur, Independent Film, Blaxploitation…not great, but you had me at `Hit In Crotch’. Written, produced, and directed by Jamaa Fanaka (Penitentiary, Penitentiary II, Street Wars), the film features a cast of relative unknown performers, many in their only hide role, including Jerri Hayes, Eddie Allen, Charles D. Brooks III (Soul Vengeance), Malik Carter (Sad Belt Jones), and Ernest Williams II, whom some may remember in the pivotal role as `Customer’, from the television role “That’s My Mama”, specifically the episode titled “The Gun”…give me a rupture, as I had not a lot to work with here…
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Jerri Hayes play Emma Mae, a young woman from rural Mississippi (or `Sippi’ as was referred to in the film) who has approach to L.A. (Compton to be accurate) live with her aunt and her family after the passing of Emma Mae’s mother. As Emma Mae gets off the bus, her cousins gawk at her like she’s some sort of alien, as the chick is pure corn pone, if you know what I mean. Anyway, her cousins reluctantly let Emma Mae price along as they go to the local college student union, and the joint is jumping. Her cousins try to dwelling her up, but there are no takers. Emma Mae does eventually glean the peek of a local hoodlum and pill pusher named Jesse (Williams II) after she beats the tar out of his weasely friend named Zeke (Brooks III), earning the respect of her peers (seems Zeke was more vocal than the others in terms of her funky appearance, to which Emma Mae laid a few smacks upside his head) . Emma Mae ends up falling hard for Jesse who eventually has an altercation with The Fuzz, goes into hiding (call me mint jelly baby, cause I’m on the lam), eventually gets popped and thrown into the can, the joint, the slammer, the hoosegow, the pen, the tank, the cooler, the jug, the cooler, the brig…what I’m trying to say is he was committed to a house of correction. Anyway, being smitten with the lug, Emma Mae gets the locals together to raise money to hire a lawyer to defend Jesse and Zeke, as they work out a deal to initiate a carwash on an unused property. Things are going well, so well, in fact that The Man takes examine and shuts them down (some BS zoning laws), to which Emma Mae and a couple of others resort to robbing a bank…they derive away, employ the money to earn Jesse and Zeke out on bail, but then Jesse ends up two-timing Emma Mae (turns out he was only using her the whole time), to which she retaliates by putting her foot square into Jesse’s late, among other places…
I learned a lot of things from this movie, the first being you don’t want to disrespect a country girl with nappy hair, because if you do, she’ll have no plight in dishing out a country beating (particularly in working over your jewels, if you’re a male) . I also learned some fresh terms, like fender benders…this is faded to recount pills that, if you remove, and then drive a car, they’ll perform you atomize into things causing you to bend your fender. Also, an `ugmug’ is an unattractive person (I contemplate the word is actually a combination of two words, plain and mug) . And if you really want to disrespect someone, you can call him or her `armadillo ugly’…another thing, I didn’t realize wearing overalls without a shirt was such a predominant fad in the mid 70s…enthralling leer. All true, as far as the film goes, it was consuming, but one should withhold in mind the cast is made up of inexperienced performers, so a lot of the acting really isn’t all that proper, but the distress, for the most fraction, was there, and that counts for something with me. The narrative moves along elegant well, but it does win bogged down occasionally as a character experiences a verbose, moment of drama meant, I deem, to appeal to the audience the trials and tribulations of the disenfranchised African American community. Emma Mae has a few of these scenes, along with another character named Colossal Daddy, played by Carter. Tremendous Daddy was kind of a odd guy in that he wore worn African attire, a sheik headdress, elephantine gray bread, mumbles to himself, and had a militant attitude. There’s one scene where he speaks about a number of things including the evils of whitey, the ironic quandary of brothers killing each other over turf which they don’t even gain, and the need for African Americans to net up off their collective behinds and acquire what they can from The Man. Some of the sequences didn’t seem to be related to the chronicle, but were fun to perceive, nonetheless, one in particular being when Jesse and Zeke were eating crab and hitching a dawdle, finally getting picked up by some acquaintances. That crab looked deplorable, and they were eating parts of it I don’t contemplate you’re supposed to eat. All in all this was an irregular, coarse budget, independent drama with blaxploitation underpinnings, displaying some magnificent shabby acting through and through, but it does feature some pains (in my understanding), along with a bit of heart (or soul, if you steal), and possibly worth checking out if only to explore the last five minutes when the character of Emma Mae performs her rendition of The Nutcracker Suite…
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The fullscreen narrate (1.33:1) on this Xenon Pictures DVD does reveal signs of age, but overall, looks relatively decent and certainly watchable. The audio comes through relatively well, but I’m not really determined what format it’s presented in…there are chapter stops, and a number of previews for other DVD releases including Terrible Attitude (1993), Sad Godfather (1974), Dolemite (1975), Penitentiary (1979), Soul Survivor (1995), and Sweetback (1971) .
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By the scheme, someone was asking about the music played during the final credits…the song, titled Theme from Emma Mae (Long to be Wait On Home), was arranged by HB Barnum (who also did the scoring for the film), and performed by Keisa Brown, and released as a 45 encourage in 1976 on the Los Angeles trace Marsel Records.
Here in Austin, TX, we’ve the Alamo Draft House, a local Cinema that not only shows ample name flicks but also shows underrated and lesser-known shows, as well. Every Wednesday is “Peculiar Wednesday,” in which they present a campy, B-grade film, usually from the seventies, at midnight. “Gloomy Sister’s REvenge” was by far the best Wierd Wednesday flick we’ve ever seen– the only to catch a standing ovation! That fight sene at the extinguish is CLASSIC. This movie is absolutley hysterical.
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