Sheba, Baby | Blu-ray Review

Strangely enough, Pam Grier’s last Blaxploitation feature, 1975’s Sheba, Baby, would be the title to introduce her to a much wider audience thanks to its PG rating. Though undoubtedly adult in theme, it’s a kittenish exercise compared to the violence, gratuitous sex, and shameless taken-for-granted racist and misogynistic antics of earlier efforts. Its classification as the final chapter of Grier’s Blaxploitation days is also sort of a misnomer, since this refers to the last time she’d don her famous persona as an action star in pursuit of a more serious career, heading into Drum (a sequel to the infamous Mandingo), starring opposite Richard Pryor in Greased Lightning, and even a Ray Bradbury adaptation in Something Wicked This Way Comes (1983). But 1975 was one of several sterling years for Grier, headlining three films, though none of them would eventually reach the same iconicity as the prior year’s Foxy Brown (itself a rather paltry sequel of sorts to the much better Coffy). As the title credits roll and Grier appears to the lyrics, “She’s a dangerous lady, and she’s well put together,” one wishes the corresponding narrative could equal her moxie.

Sheba Shayne (Grier) is a Chicago private eye called back to her hometown of Louisville, Kentucky to prevent the local mob boss (D’Urville Martin) from commandeering her father’s (Rudy Challenger) loan business. Seeing as most of the other town’s loan shops have already been overtaken, Sheba doesn’t have much time to act. Assisted by her father’s partner, Brick Williams (Austin Stoker), Sheba stomps her way through hand-to-hand moments of combat, dodges car bombs, and proves to be a lethal master in close range gun fights and even a daring boat chase in order to seek vengeance on the thugs threatening daddy.

As Patty Breen’s insert essay in this restored release asserts, Sheba, Baby is “Gateway Grier,” a less salacious effort which introduced her to younger, less discerning audiences. Grier purists are bound to be a bit disappointed with the derivative qualities of the title, however, since there’s not much to set the narrative apart from a load of other B-genre efforts, despite Barbara Mason’s crooning title track. But it’s exactly because of this lack of adult elements (don’t worry, plenty of supporting female characters still find time to be demeaned) which allows for something a bit more interesting to transpire with Grier’s persona.

In previous efforts she was saddled with sharing steamy sex scenes with romantic leads, or subjected to brutal violence at the hands of antagonists (including rape) before her characters were allowed to usurp anything resembling vengeance. As Sheba Shayne, she’s no nonsense from frame one and unfettered by these usual tropes, walking away with a sort of dignity eluding past characterizations. But the sacrifice also includes a notable lack of insane flourishes which would generally reside in the perversities of Blaxploitation efforts. Although Grier is once again charged with heroically rescuing a troubled family member, the film is without the usual spicy suspects like Yaphet Kotto or Antonio Fargas, or even the campy Eartha Kitt of Friday Foster. Thus, Sheba, Baby feels about as grim as a Charles Bronson effort but without any real vindictiveness.

The feature was a definite step up for William Girdler, whose previous effort was Abby, known infamously as the black The Exorcist, which featured Blacula star William Marshall and even Oscar nominee Juanita Moore. Co-written by Girdler and David Sheldon, it’s clear Sheba, Baby is merely a film in conversation with recycled tropes from the growing Grier oeuvre. The PG rating seems only to have curbed the virile possibilities of Austin Stoker’s romantic lead, Brick (the hyper masculine moniker perhaps borrowed from the famous Cat on a Hot Tin Roof for another man overshadowed by a dominant, lethal female) and the violent tendencies of villainy here toothlessly embodied by D’Urville Martin, co-star of the infamous Charly films starring Fred Williamson as well as Larry Clarke’s Black Caesar and Hell Up in Harlem.

Disc Review:

As per Arrow Video’s usual sterling packaging, Sheba, Baby arrives as a new high definition transfer and decked out with superb extra features (it arrives in the middle of other Grier titles from Arrow, following an earlier UK release of Coffy and a forthcoming Black Mama, White Mama). It’s the perfect label to re-distribute these languishing grindhouse classics, and this re-issue is nothing short of the glamorous grit one expects from the cult distributor. Featuring Grier in full-on combat mode, this presentation in 1.85:1 looks and sounds superb (in original mono audio). Screenwriter David Sheldon provides audio commentary moderated by critic Nathaniel Thompson. Additionally, another optional audio commentary track from Patty Breen (who wrote the insert essay and is the webmaster of WilliamGirdler.com) is also available.

Sheldon, Baby:
Arrow Video shot this exclusive interview with screenwriter David Sheldon for this Blu-ray release. The fifteen minute feature finds Sheldon reminiscing on the production as well as his working relationship with director William Girdler.

Pam Grier – The AIP Years:
Shot in October, 2015 for Arrow Video, this segment finds film historian Chris Poggiali discussing Pam Grier’s notable years working for American International Pictures (AIP). Though the nearly twelve minute feature is much too short to correctly capture Grier’s contributions as a cinematic icon, it’s a quick snapshot of Grier’s early accomplishments.

Final Thoughts:

Grier gurus should certainly appreciate the effort poured into this re-release of Sheba, Baby, while audiences who are still being introduced to the iconic performer’s glory days should be aware of the significant body of work which preceded this final template.

Film: ★★/☆☆☆☆☆
Disc: ★★★★/☆☆☆☆☆