Young woman quickly realizes that prostitution is a harsh reality.Young woman quickly realizes that prostitution is a harsh reality.Young woman quickly realizes that prostitution is a harsh reality.
Robert Angus
- Car Driver
- (as Bob Angus)
Storyline
Did you know
- TriviaJeff Burton's last feature film
- Quotes
Grandpa: Don't you run from me, boy. Don't you ever in your life run from me. Your mama don't care nothing about you, boy. Boy, your mama don't love you. You was got wrong and you was had wrong.
Young Boy: Please love me, grandpa!
Grandma: [addressing her husband] Now you just hush up, you old coot. Just hush up that kind of talk to this poor innocent baby. Just ain't no use talking like that to this poor child.
- Alternate versionsThe film originally released with a with a "PG" rating as 'Don't leave go my hand' and under-performed so several sex scenes with body doubles were added to it into an "R" rated film called Black Hooker.
Featured review
Please love me mama! You filthy tramp!
A very white, blond, blue-eyed, hippie-haired boy who looks kinda like 70s Joseph Bottoms is improbably born a trick baby to a hateful African-American prostitute/flapper (the initial period seems to be the 1920s) who leaves him to be raised by his loving grandma and hostile preacher grandpa on the farm while she carries on her evil ways in the Big City. As an adult, the Boy (none of these characters get names, emphasizing their archetypal melodrama nature) falls in love with a local black girl, whom out of the blue his pious grandpa decides to seduce. So our hero runs away. Further tragedies lead to a violent finale.
Based on the director's stage play--which must have seen even cornier onstage--this isn't at all the 70s blaxploitation piece it was rather desperately marketed as, but a crude inspirational drama like those of Oscar Micheaux (as a prior poster noted). If not for the infrequent, rather gratuitous, very badly shot sexploitative scene, it would be something you'd expect to see in a church basement of the era.
The low-budget film-making is really erratic, ditto the acting, both running a gamut from the nearly professional to the completely hapless. Unsurprisingly, this was the first/last film endeavor for its writer-director and much of the cast. It's got that very 70s thing of soundtracked soul songs that clumsily comment on the action. By no stretch of the imagination is this a good movie, nor is it a camp classic despite some dialogue howlers. Still, it's worth a look for people (like me) who find any one-off oddity from the era interesting.
Based on the director's stage play--which must have seen even cornier onstage--this isn't at all the 70s blaxploitation piece it was rather desperately marketed as, but a crude inspirational drama like those of Oscar Micheaux (as a prior poster noted). If not for the infrequent, rather gratuitous, very badly shot sexploitative scene, it would be something you'd expect to see in a church basement of the era.
The low-budget film-making is really erratic, ditto the acting, both running a gamut from the nearly professional to the completely hapless. Unsurprisingly, this was the first/last film endeavor for its writer-director and much of the cast. It's got that very 70s thing of soundtracked soul songs that clumsily comment on the action. By no stretch of the imagination is this a good movie, nor is it a camp classic despite some dialogue howlers. Still, it's worth a look for people (like me) who find any one-off oddity from the era interesting.
helpful•21
- ofumalow
- Jan 6, 2010
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