Eartha Kitt

  • Boomerang (1992)

    ByChristian Sauvé Movie Review

    (On TV, January 2022) I know that Boomerang has a pretty good reputation in many circles. If you want to be specific about it, it’s one of the few noteworthy black-cast romantic comedies of the early 1990s, and it features not only Eddie Murphy at his most charismatic self, but such notables as Martin Lawrence and Chris Rock—not to mention a scene-stealing turn from Grace Jones, and lovely performances from Halle Berry, Robin Givens and a very sexy Eartha Kitt. It follows the romantic comedy formula of teaching a valuable lesson to its protagonist, as the womanizing protagonist (Murphy) meets his match in an equally-ambitious and promiscuous female executive, and spends the film learning how to appreciate true love beyond appearances and easy conquests. But beyond the bare bones of the plot, much of Boomerang’s best moments are spent in banter between Murphy and his co-leads (although the transphobic snippet hasn’t aged well at all), in Jones’ bravura satire of herself, in Manhattan locations and early-1990s period detail. I should, by all accounts, be pretty happy with the results… except that I can’t shake the impression that the film ends with the wrong romantic coupling, and misses an occasion to match its protagonist with an equal. Let me explain (and never mind the spoilers)—the third act of Boomerang has the protagonist give up his womanizing ways, realize that his female counterpart (Givens) is not the right choice and instead pursue the sweet, humble, authentic character played by Halle Berry. Fairy-tale ending, roll the credits, pick up your coat and walk to the exits. Except that I don’t believe it. I don’t buy into Murphy’s character’s “evolution” into a humbler, artistic down-to-earth monogamous person. Not helped at all by Murphy’s person, the protagonist is still grossly overpowered compared to his romantic partner — “I give them six months,” essentially. I’m bothered by the missed opportunity of engineering both of the insanely ambitious (and bed-hopping) characters to figure out a way of making it work at their matching levels. That would have been a more interesting third act to the film, and something far more credible than the idea of a leopard abruptly changing his spots. Now, I know, I know: romantic comedies are like that. But I still think he ended up with the wrong woman.

  • Friday Foster (1975)

    Friday Foster (1975)

    ByChristian Sauvé Movie Review

    (On Cable TV, February 2021) Pam Grier is worth a watch even in the most terrible of movies, but Friday Foster greatly exceeded my expectations. A proud product of the blaxploitation era, this is a film that doesn’t even try to hide what it’s built for — Pam Grier in a shower, showing ample side nudity before being attacked by a knife-wielding hitman? Check. A random fashion show showcasing beautiful black women? Check. An activist plot dealing with the en masse assassination of black politicians by white agitators? Check. Friday Foster knows what it’s about, and it’s not afraid to show it. The steady forward pacing feels suitably modern, even as the mid-1970s atmosphere can’t be denied, and the great cast (Yaphet Kotto, Carl Weathers, Scatman Crothers, even Eartha Kitt in a too-small role) is a lot of fun. Still, the film’s single best asset is Grier in a role almost tailored to her strengths as an action heroine. For all of her reputation as an icon, Grier didn’t star in that many movies during the 1970s and Friday Foster was the last of the “classics” she did for American Picture International. It’s also a role that gives her a little bit more to do than running and shooting: she gets to play mom, photographer, investigator, seducer and sex symbol. It’s not exactly what we’d consider a well-rounded leading role these days, but it was still a noticeable step up for black female actors establishing a viable popular cinema for black audiences. What’s more, the thematic concerns of the film run a bit deeper than many of its contemporaries, notably in postulating a deliberate attack against black political leadership. I’m not going to pretend that Friday Foster is a great movie, but as a late-blaxploitation film, it’s fun and almost impossible to stop watching once it gets going. Grier still gets most of the credit, but the rest of the film almost meets her at level.