Street Sisters

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.

Just when I think I've seen every unnoticed example of the 'blaxploitation' genre...along comes this quirky, sincere little film from 1972. It more rightly fits, perhaps, into the sub-genre of African-American themed films set in the Great Depression, like "Book of Numbers" and "Thomasine and Bushrod". The actress who plays the main character's mother bears a rather striking resemblance to Josephine Baker. The film's stage origins often stick out and the fact that all the dialogue was post-synched doesn't help to alleviate a general sense of technical stiffness. Still, it's an interesting story about the son of a light-skinned prostitute (improbably played by an actor who's far too fair-skinned, blonde and blue-eyed) caught between the clash of white and black cultures. The video version I watched (on Edde) was actually a pretty good looking print (apart from a few bad stretches on the soundtrack), moderately letterboxed even. If you can find this and are a fan of the genre, check it out.

Make no mistake, "Street Sisters" (which I saw as "The Black Hooker") is a bad film. However, it does have enough bad elements to keep you curious enough (maybe) to sit through the whole thing.

One interesting thing is that the film is set in the 30's and 40's, with most of the actors still looking like they are from the 70's of course, especially hair-wise. The plot - a very attractive black hooker has a white son in "a bad way" (meaning from a john), wants nothing to do with her son, so she keeps the son on her parent's farm where grandma and grandpa raise him. Grandpa is a preacher but a pervert and a mean dude, grandma is very nice but she has an undisclosed bad past. The kid makes friends with a young black girl (why he shockingly pushes her from behind as she is running in a small brook who knows) and then all of a sudden it's the 40's, and the kid and his girlfriend are teens.

His girlfriend has a certain encounter with grandpa, prompting the son to leave home, and go find his hooker mom. He wants a relationship with her, but she still wants nothing to do with him. He goes off on his own and has a few "adventures." The last 15 minutes of this film gets real strange. The color tone of the film change for a little while and things get a little psychedelic. Some weird things happen and it all ends very suddenly and strangely.

The film is bad. There are plenty of odd close-ups and poor camera angles. Despite being set in the 30s and 40s, the music is still 70's porno funky. Makes you think maybe the film is indeed set in the 70's after all, but the few vehicles you actually see are all 30's cars. yeah right! There are some sequences where nothing happens at all, except to fill in the time with some utterly meaningless conversation between characters.

There is even one long and brutal beat down of one of mom's johns by a couple of guys (her pimp and his muscle?) that makes you wonder, what does this have to do with anything? There are early indications that the film will be about the white boy struggling to live in the "black world" due to his family and upbringing, but that's never touched upon after all. Mom though, as attractive and sexy as she is, is very much an unlikable selfish bitch to such a degree, the viewer can never feel anything for her at all.

This is definitely an interesting viewing experience but it isn't something you will want to watch again more than once most likely.

This is really a successor to the one-man, low-budget productions of Oscar Micheaux in the 1920's and 1930's, rather than one of the blaxploitation movies of the 1960's and 1970's.

Blaxploitation movies were urban. They were action movies with karate, knife, and gun fights; they pitted black heroes (sometimes good guys but often criminals themselves) against bad white guys (usually politicians and cops). They had pounding rhythm and blues scores and pimp style, and most of them were produced by major film studios, though on relatively small budgets.

The black-audience shoestring independent productions of Micheaux and his colleagues, on the other hand, most frequently had rural or small-town settings. Their characters were rarely involved in crime, and there was minimal violence. There was also little conflict between blacks and whites; the conflict was intraracial, and the movies usually had a religious, moral, or social message.

Under either title, "Black Hooker" or "Street Sisters," this movie markets itself as a blaxploitation movie, but its main elements are all from the earlier genre. It's the drama of a conflicted family, with a grandfather who is a crazed preacher; a grandmother who is the earthy family peacemaker; their daughter, the title character, who is more like the fallen woman in the earlier films than like the flashy, assertive whores of the later ones; and the daughter's son who is light enough to pass for white (and passing is a common theme of the earlier movies).

It's also, unfortunately, just as clumsily plotted and directed as the Micheaux movies.

When I worked with L.A. County, I knew Art Roberson fairly well, tho I have no idea of his current status or whereabouts. We were both social workers in the ghetto (really) in the 1970s. My impression was that being a social worker was his day job, that being a movie maker was his primary ambition...so what else is new?

The movie, some interiors of which were shot at the legendary Joe Jost's in Long Beach, premiered for friends and associates at Warner Bros. screening room in Burbank. At the end of the showing, it was greeted by dead silence, replacing excitement or applause.

I think the viewers realized that the director had blown a pretty good chance to do something worthwhile after all his work, investment and attention to this film.

Originally entitled something like "Don't Leave Go My Hand" (or maybe

"Don't Let Go My Hand"), it was supposed to sensitively portray the horrible life of a neglected (or abused, I don't recall which) black child, the son of a...you guessed it...black hooker!

But that original intent didn't play, so the title was changed to "Black Hooker," presumably to piggyback on the blaxploitation movement at the time.

As sort of a metaphor for that all-too-sensitive evening's experience, after the showing, as the cars were wending out of the Warner Bros. lot, I clearly recall the car of a black viewer rear-ending the car of a white viewer who had stopped short at a traffic light...an embarrassing wreck.