Slaughter (1972)

There are better movies of two hours length. I loved the actress'performance.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Exactly the movie you think it is, but not the movie you want it to be.

An old-fashioned movie made with new-fashioned finesse.

I'm all for 1970s low-budget exploitation films but Slaughter failed to satisfy. The plot, if there is one, is confused, as if the first reel was missing. After Billy Preston's lame theme song you are dropped into the middle of a confusing story about the mafia, or maybe Mexican mobsters, who kill star Brown's parents in the first 10 seconds. Why? I still don't know. Something about a computer. From there the tale meanders with little action and some really bad acting. That can be forgiven if the film is at least a little fun but there's not much of that either.Brown's 'Hell Up in Harlem" is a lot more fun and makes a lot more sense.

Jim Brown is one cool dude, even when he's making a typical 70s blaxploitation flick.Here, he is an ex-Green Beret home from 'nam going after the mob thugs that killed his father.First, he has to get by their secret weapon, Stella Stevens, girlfriend of #2, Rip Torn, a racist that is just seething at the thought of Stevens between the sheets with Brown. And, boy, do they steam up those sheets! That must have been a shock to 70s audiences.Now, the thugs are not too bright as they try to run Brown down with a Mustang. Don't they know that this former fullback is one of the all time greats in NFL history? Their efforts to catch him in the casino meets with equal disaster as he runs right through them.Of course, you know Slaughter wins in the end because there is a sequel.One interesting aspect for the younger folks is the IBM punch card that figures prominently in the film. They probably have never seen one.

Somehow, in even the most sleazy, tacky and sordid surroundings, Brown was able to retain a level of dignity and appeal in his movies. This film revels in the various hallmarks of the Blaxpoitation genre, but Brown comes out of it unscathed. He plays a former Green Beret whose parents are killed by the Mob (his father was heavily involved with them.) When he tries to exact revenge, he winds up recruited by Treasury Department official Mitchell to work together in bringing down several mobsters in Mexico. Here, he is aided by Gordon and, to a lesser degree Clark. Alfe is the primary fat cat with Torn as his second in command. Things get complicated and very ugly when Alfe sends Torn's ex-hooker girlfriend (Stevens) to soften up (or harden?) Brown. Brown, though very low-key through most of the film, presents such an amiable presence despite the tawdriness of the material that he makes this film worth watching. His "shoot first, ask questions later" character is somewhat ill-defined, but he gives the film some honor. Gordon does an admirable job as his short, adoring sidekick who wishes he had even a tenth of Brown's magnetism and ability. Torn gives a brooding, slimy, but interesting performance as a racist, vicious thug. Stevens gets a showy dress (and undress!) rehearsal for her memorable role as an ex-prostitute in "The Poseidon Adventure" (filmed just after this.) Her look in this film is precisely the same, though she has some far more adult scenes in this one. Brown's sex scenes with Stevens had to have been quite the eye-openers in 1972 as they still are even today! It's clear that the two had chemistry together and clearly enjoyed their relationship as actors. Alfe (who, oddly, has not one other screen credit to his name) is distinctive and memorable (if, at times, unintentionally funny.) With a Mr. Roarke hairdo and with a voice that may not be the actor's own, he nonetheless does a decent job of presenting a man with power and influence. Mitchell hardly appears and Clark's role is an almost total throwaway (though she has one memorably hilarious exit from an apartment doorway!) This film is not for everyone as it is decidedly politically incorrect with plenty of the "N" word flying around. However, it is filled with interesting lead actors who give their all to their roles and help it to rise above cheaper variations on the genre. A few of the bit players are bad, but they aren't around long in most cases. Only some of the interior shots in hotel rooms or offices betray a lack of budget (with rotten sound and lighting.) There is definite overuse of a fish-eye lens which becomes distracting and is a by-product of the era. Much of the film, though, comes off as pretty slick with a terrific title song, some well-handled action scenes and enough spark in the dialogue to hold one's interest. It's the type of flick where the men refer to each other as "baby" and even "sweetheart" all in the name of that inimitable 1970's funk. It was followed by an even more lurid, but entertaining, sequel.

It kicks off a little slow, but by the time they get to Mexico, things pick up and get pretty smokin' in the conclusion--Jim Brown's entrance to the casino is terriffic, it's got the shock value of having a dwarf thrown through your bay window. His later entrance to the bad guys' lair from the car is also classic. Jim Brown isn't a great actor, but his ass-kicking stoicism is at it's best here, as he slaps down legions of bad guys with barely a raised eyebrow. (Did you know that, aside from his football skills, Jim Brown was supposedly the greatest Jai Lai player on earth?) Stella Stevens and Rip Torn are also very good, but even higher praise goes to Billy Preston's theme song.