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Original Title: Slaughter's Big Rip-Off

Genge: Action,Crime,Drama,Thriller

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Vigilante Slaughter comes under attack from Duncan, a local money launderer whose hit-man traps Slaughter in a car at a cliff, but Slaughter escapes, arms himself, and goes after Duncan's hideout.
Slaughters Big Ripoff could be called junk, but that is like calling Birth of A Nation Junk.Is it a good film,no. However it is an interesting film to analyze.Unlike the first Slaughter movie, this one is different in tone. Slaughter has no well meaning white partner like Don Gordon. In fact, except for the beginning, there is no good white male in the entire film. The screenplay writer, a Mr Johnson, who I believe to be African American, I believe is the real auteur of this movie. The opening scene, with an attack by an airplane may remind people of an incident in Tulsa Oklahoma in the early 1920's. Here, an elderly white man, the only good white man in the whole film, who has just lost a close horse race to Jim Brown as Slaughter, is killed by this plane, as is another black person. The attempt was made to kill Slaughter. During this scene, before the attack, their are several tables set up. Ironically, all the black people at this party sit together, separate from the white people. Even here, it is implied somewhat that while blacks and whites can be polite, they cannot be together.

Later on, we will meet African American Brock Peter, who at first appears to be antagonistic to Slaughter, while his white boss, who appears to be a "nice guy", we will later learn is corrupt and dealing with the mob, led by all people Ed McMahon (I guess Johnny Carson show didn't pay him enough. Brock Peters however, will help Slaughter, and they form an alliance.

The "White World" is shown to be decadent and in decline. Sluaghter beats up three "Rednecks", terrorize's a white perverted drug dealer". During a murder of a white gangster who failed to kill Slaughter, imaginatively done in a swimming pool, especially as all the people at this party (all white) all of a sudden disappear, implying somewhat that "the white world" condones such killing though they try to show that they are respectable. The only good white person from here on end, is a white woman, who just wants to have sex with Slaughter, somewhat suggesting that for her white men are of no use. Slaughter complies, but in no way does he seem to love this woman, while he is making love to a black woman later on, and we feel that he certainly cares more for her. Also a black pimp, who appears to be a sleaze, is allowed to show courage, and that even he, has more good character qualities than "the white man".

Don Stroud makes an interesting villain. He appears at the beginning, while he is evil, that he may be a match for Slaughter. But in the end, when Slaughter faces him, he will be no match for Jim Brown's Slaughter. As Jim Brown faces the bad white gangsters in the end, I am struck by his getting his guns ready to put the massacre on these white baddies. Certainly it might go against Martin Luther Kings principals. However, metaphorically, one could see Slaughter getting his guns ready, to go after the people behind James Earl Ray who wanted King dead.

This is no classic, it is not even good cinema, but Slaughters Big Ripoff is none the less an interesting movie for what it is saying. 9 out of 10 film-goers agree: if you put Jim Brown on screen, whatever film he happens to be in will immediately improve noticeably for as long as he remains on screen. There's just something about the guy's presence and charisma, even in a non-action setting, that makes you want to see what he is going to say or do next. So a film with Jim Brown up front and center for the entire duration is going to be fun to watch even if the surroundings are second rate. That is certainly the case here.

This was a pure blaxploitation flick that doesn't pretend to be anything else, so the audience for it is going to be fairly self-selecting - a title like "Slaughter's Big Rip-Off" is not going to pull in the Merchant Ivory crowd or fans of British comedy. The filmmakers knew the kind of film they wanted to make, and they made it: a film about guns, drugs, sex, soul power, cussing, funk guitar and muscle cars...and mostly about Jim Brown and how cool he is. (For a contemporary version of this, think of Matt Damon in "The Bourne Identity", which is all about how cool Matt Damon is.) I was a little bothered by the fact that the Slaughter's supposed soul mates, who went been through hell with him and for him in the 1st "Slaughter" (Don Gordon and Stella Stevens) were nowhere to be seen in this one. Nor was any mention made of their characters...even though the events in this film are directly related to the events from the first film. That detracted a bit from the overall image of Slaughter as a man who inspired loyalty because he gave it. But we all know about the perils of the casting call and agent negotiations (although it's hard to imagine why Don Gordon was too busy to reappear with the highest profile celebrity he'd ever been associated with). So if you don't think about it too hard, it's OK.

One really odd note to the seamless blend of guns, goons, and funk is the appearance of Ed McMahon right in the middle of things as a Boss type. I don't who was mad at him, or how he got talked into it, but he is the goofiest looking twerp you can imagine here. The eras fashions were not kind to him, and he was foolish to appear on screen in anything other than a sack suit or a Hawaiian shirt. Imagine a pale, pudgy lounge lizard in aviator spectacles, leisure suit and long hair parted straight down the middle in a page-boy bob run amok, and you still can't even come close to the horror of his appearance in this film. When Brown finally shoots him, I was praying that he would also call in an air strike to obliterate McMahon's wardrobe, so that it would never sully innocent eye-balls again.

Anyway, "Slaughter's Big Rip-Off" might have been OK, or even good, with another actor in the role, but Jim Brown makes it a great period piece. If you enjoy blaxploitation movies, this one belongs in your collection.

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