No Way Back | |
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Directed by | Fred Williamson |
Written by | Fred Williamson |
Starring | Fred Williamson Charles Woolf Tracy Reed Virginia Gregg Stack Pierce Don Cornelius |
Cinematography | Robert Caramico |
Edited by | James E. Nownes |
Production company | Po' Boy Productions |
Distributed by | Atlas Films |
Release date |
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Country | United States |
Language | English |
No Way Back is a 1976 blaxploitation film written and directed by Fred Williamson, who also stars as Jesse Crowder, a private detective who once used to belong to a police force, but that now finds himself taking odd jobs for a little extra money.
Jesse Crowder is hired by the wife and brother of a fugitive named Woolf, who is on the run because he had just robbed a bank. Woolf uses this money to embezzle it, where from Crowder decides to take the case and follows the fugitive from Los Angeles to San Francisco, California. Woolf is on the run with his girlfriend Candy. Crowder pursues his targets by following small clues, while causing a whole mess of trouble with a gangster named Bernie. Bernie is Candy's pimp and also the leader of a gang. When Bernie learns that Crowder is looking for one of his employees, he makes sure that Crowder is taken care of. He sends numerous thugs in Crowder's direction, but Crowder manages to successfully capture Mrs. Pickens’ husband after fighting off a couple of Bernie's thugs, but has yet to capture the girlfriend. Crowder's previous cop experience provided a helpful basis from which he was able to eventually pick up on her trail after having gotten himself into more trouble with Candy's pimp and his gang. A final showdown takes place in the desert in a hail of gunfire.
Jesse Crowder plays by his own rules and will do anything he can within his power to complete his mission; all that he needs to ensure that he does this is some cold, hard cash. Besides a thirst for money, Crowder also has a thirst for women. He is a ladies’ man as some would say, and is also a stereotypically strong African-American man, a strong black man, and makes sure that everyone around him knows this. This aspect of the movie may represent a sort of ironic situation in that Crowder boasts about his strength and physical prowess with the women, which are animal-like characteristics, yet also demands to be seen as more than just what the white man has made him out to be. [2] Crowder often encounters many women with whom he has sexual relations shortly after meeting them. His slick lines and tough-guy attitude sweep the ladies right off their feet so that at the end of all of these sexual encounters, the women are often seen begging for more sex. This stereotype was a common blaxploitation characteristic to use in African-American films.
Atlas Films distributed the film; it was primarily targeted at African Americans in suburban areas across the United States, primarily in western and eastern suburban areas.
This film is part of a larger genre known as blaxploitation, which emerged in the early 1970s in the time when many black exploitation films were being made specifically to target black audiences. No Way Back emerged as one of these in 1976 and was set on the West Coast, which typically as many other blaxploitation films like it took place in the ghetto. This was a common characteristic of blaxploitation films, which accentuated crime, drug deals, and pimps. Another important aspect of this particular movie is the pun with the name Jesse Crowder which plays on Jim Crow Laws, an important and controversial aspect of earlier African-American life. Only a little over a decade before the film was made, segregating black and whites in public institutions and other places in society had been legal. [3]
This film consisted of three soundtracks from the album of the same name by The Dells:
West Virginia Symphony
When Does the Lovin' Start
I'll Make You My Girl
Life Is the Time
Ain't No Black and White in Music
No Way Back (from No Way Back)
Too Late for Love (from No Way Back)
You Are the Greatest
Adventure (from No Way Back)
I'll Try Again
Slow Motion
The album is not as popular as other blaxploitation scores, but it does have a “nice, hard funk theme with a heavy bass line and persistent riff starting the second side, then a straightforward soulful love theme, and finally a great funky instrumental to finish the selection.” [4]
Frederick Robert Williamson, also known as "the Hammer", is an American actor and former professional football defensive back who played mainly in the American Football League (AFL) during the 1960s. Williamson has had a busy film career, starring as Tommy Gibbs in the 1973 crime drama film Black Caesar and its sequel Hell Up in Harlem. Williamson also had roles in other 1970s blaxploitation films such as Hammer (1972), That Man Bolt (1973) and Three the Hard Way (1974).
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Black Caesar is a 1973 American blaxploitation crime drama film written and directed by Larry Cohen and starring Fred Williamson, Gloria Hendry and Julius Harris. It features a musical score by James Brown, his first experience with writing music for film. A sequel titled Hell Up in Harlem was released in late 1973.
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Blaxploitation is an ethnic subgenre of the exploitation film that emerged in the United States during the early 1970s, when the combined momentum of the civil rights movement, the black power movement, and the Black Panthers spurred African-American artists to reclaim the power of depiction of their ethnicity, and institutions like UCLA to provide financial assistance for African-American students to study filmmaking. This combined with Hollywood adopting a less restrictive rating system in 1968. The term, a portmanteau of the words "black" and "exploitation", was coined in August 1972 by Junius Griffin, the president of the Beverly Hills–Hollywood NAACP branch. He claimed the genre was "proliferating offenses" to the black community in its perpetuation of stereotypes often involved in crime. After the race films of the 1940s and 1960s, the genre emerged as one of the first in which black characters and communities were protagonists, rather than sidekicks, supportive characters, or victims of brutality. The genre's inception coincides with the rethinking of race relations in the 1970s.
Blind Rage is a 1978 comedy-themed blaxploitation martial arts film. It was directed by Efren C. Piñon and starring Fred Williamson, Tony Ferrer, Leo Fong, and D'Urville Martin. Although he receives top billing, Fred Williamson's part in the film is only a cameo appearance, reprising his Jesse Crowder role from the 1976 films Death Journey and No Way Back. The plot is about five blind martial artists pulling off a bank robbery in Manila.
Hit Man is a 1972 American crime film directed by George Armitage and starring Bernie Casey, Pam Grier and Lisa Moore. It is a blaxploitation-themed adaptation of Ted Lewis' 1970 novel Jack's Return Home, more famously adapted as Get Carter (1971), with the action relocated from England to the United States.
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