Racialicious Crush Of The Week: Pam Grier
I knew Pam Grier was ridiculously amazing because of her legendary roles in Blaxploitation films. But when I saw her cast as the Dust Witch, described as “the most beautiful woman in the world” in Something Wicked This Way Comes, I knew back then in my teens that Hollywood would never, ever cast a Black woman in a role that would even have such a description. In that theater, I witnessed a bit of a revolution that escaped Hollywood’s beauty echo chamber. And I stayed in massive crushitude with Grier ever since.
The clip above is a second reason why I <3 her, and this excerpted interview is a third:
O: When you were making Coffy and Foxy Brown, did you have any conception that you were creating a powerful new female archetype, this sort of iconic, larger-than-life figure?
PG: No, not at all. You never know how people are going to respond. I just wanted to try to do interesting work. I was surprised and humbled by the legacy of it.
O: You were the first woman to play that type of character.
PG: Yeah, well. I saw it in my real life, I saw it in the police force in Denver, and I saw it in the military. I saw women share the platform with men in my personal world, and Hollywood just hadn’t wakened to it yet. Bette Davis and Katharine Hepburn changed the way they saw women during the 1940s, but I saw it daily in the women’s movement that was emerging, because I was a child of the women’s movement. Everything I had learned was from my mother and my grandmother, who both had a very pioneering spirit. They had to, because they had to change flat tires and paint the house–because, you know, the men didn’t come home from the war or whatever else, so women had to do these things. So, out of economic necessity and the freedoms won, by the ’50s and ’60s, there was suddenly this opportunity and this invitation that was like, “Come out here with these men. Get out here. Show us what you got.” And they had to, out of pure necessity. Out of necessity comes genius. Not to say that I was a genius, but I did the things I had to do.
O: Did you get a lot of feedback at the time about your film work?
PG: The masses enjoyed it. They enjoyed seeing a female hero. And then some of the more conservative people said, “Couldn’t you have done something else? Couldn’t you have played a nun? Couldn’t you play Mother Mary, or something more conservative?” And I said, “You guys are so fragmented that nobody’s going to come. Nobody’s going to see those movies.” The way things are right now, they want to see action, they want to see heroes and heroines. And if you’re not that, you’re an art film, and if you were black, then you weren’t going to be in that art film. If you were black, you may not get to do theater. So you’re marginalizing yourself even further, and you’re not going to get the experience or break down stereotypes. Although at the beginning, my ambition was never to break down doors. It was just to earn tuition for myself and work in an industry where women hadn’t been allowed or invited. That’s all I wanted to do, not thinking that I would make waves, change minds, excite people, incite people, turn people on, repulse people. We’ve got $20 million actresses today who are nude in Vanilla Sky, nude in Swordfish. So what did I do different? I got paid less, but that’s it. And if you see it as an art form, what’s the problem? You know what it’s rated, and you know what you’re going to see, because the critics tell you. If it offends you, don’t go.
…
O: Do you consider yourself a feminist?
PG: I consider myself conscious of how we’re treated, and sometimes I can be a feminist. Sometimes I’m a little Republican, sometimes I’m a little Democrat. Sometimes I’m angry, sometimes I’m not angry. I’m not a total feminist, but I believe in rights for females. I believe that if we have to pay 100 percent for our college tuition, and then we get into the workplace and we’re only given 70 percent of our counterparts’ salaries, then we shouldn’t have to pay but 70 percent of our college tuition. Maybe that’ll stop the bullshit. Now, come on. I ask you, how would you like your mom, your wife, your daughter to spend $100,000 to go to Harvard or some state school, and go out into the workplace, and you know she’s great, and men are getting paid $200 per week more than her? Would that piss you off? What if you lost your job and you stay home crippled while she goes out, and she thinks she’s going to get a good job, but someone male with the same level of experience and the same level of education gets paid more than her? You’re going to get pissed. Until you walk a mile in someone else’s shoes, I don’t want to hear it. See, that’s the disparity that we have. That’s what makes people say, “Why should I work so hard? I’m not going to get paid.” When we have that so prevalent in the black community, that’s what saddens me, because that’s when we know we can’t get films made that uplift. We have to have films about action and violence and special effects. That’s the sad part, but you know what? It’s not me doing it.