1

PAM GRIER as Coffy BOOKER BRADSHAW as Brunswick Written and Directed by JACK HILL Produced by ROBERT A PAPAZIAN
ROBERT DoQUI as King George WILLIAM ELLIOTT as Carter Executive Producer SALVATORE BILLITTERI
ALLAN ARBUS as Vitroni SID HAIG as Omar Director of Photography PAUL LOHMANN Edited by CHUCK MCCLELLAND
Music Composed and Conducted by ROY AYERS

2 3
Contents
2 CREDITS
7 COFFY by Cullen Gallagher
18 PAM GRIER by Yvonne D. Sims

4 5
 Coffy
by Cullen Gallagher

As far as opening scenes go, it’s hard to find one as memorable and ground breaking—
and not to mention as downright electrifying and shocking—as the beginning of Coffy
(Jack Hill, 1973). Posing as a junkie in need of a fix, Pam Grier agrees to trade her body to
a drug dealer for some heroin. When they go back to his bedroom, she gives him a bigger
surprise than he could have ever imagined.

“This is the end of your life you motherfucking dope pusher!”

With these eleven words—and the help of a sawed-off double-barrel shotgun that blows
said dope pusher’s head into oblivion—Grier irrevocably changed cinema history. Her
character, Coffy, was a one-woman army. Nurse by day, vigilante by night, on a mission
to single-handedly take down the dope, prostitution, and political corruption that was
plaguing Los Angeles and was responsible for turning her 11-year-old sister onto drugs.
Equal parts strong, street smart, sexy, and sophisticated, Coffy was a quadruple threat.
Had there ever been a more powerful screen heroine?

Hell no.

Coffy premiered in 1973. Grier was a new type of star for a new era, and Coffy was a new
type of character for a new type of movie. But while Coffy is very much a film of its time,
it is also a reaction against the times. Like many exploitation films, it took advantage of
certain tastes and trends of the time, playing into what was popular and in vogue, but
it also challenged many of those same conventions. To see it merely as “just another
Blaxploitation” film is to overlook its radical and history-altering accomplishments.

The late-1960s and early-1970s was a time of great social upheaval in America and
around the world, and Hollywood was not immune to these crises. Movies like Bonnie and
Clyde (Arthur Penn, 1967) and The Wild Bunch (Sam Peckinpah, 1969) reflected the rising
tide of violence, while Midnight Cowboy (John Schlesinger, 1969) and Carnal Knowledge
(Mike Nichols, 1971) revealed new levels of sexual frankness. Meanwhile, there was the
first wave of Blaxploitation cinema, a movement of both independent and studio-produced
movies that prominently featured black characters. These films not only indicated a

6 7
changing racial consciousness in America at the time, but were also an attempt for an the picture, he related in an interview in Calum Waddell’s book, Jack Hill: The Exploitation
industry in financial straits to cash-in on a large audience that had been alienated and and Blaxploitaton Master, Film by Film (2009).
ignored almost entirely since the beginning of cinema. Some of the earliest Blaxploitation
films were: Cotton Comes to Harlem (Ossie Davis, 1970); Shaft (Gordon Parks) and Sweet Hill was the perfect choice for the project that would come to be known as Coffy (a title
Sweetback’s Baadasssss Song (Melvin Van Peebles, both 1971); and Blacula (William he suggested). A classmate of Coppola’s at UCLA, he got his start working as an assistant
Crain), Hammer (Bruce Clark), Slaughter (Jack Starrett), Super Fly (Gordon Parks Jr.) and to Corman. From his first features as a director, Hill exhibited a strong sense of cultural
Trouble Man (Ivan Dixon, all 1972). What these films shared in common, aside from their commentary and feminist politics, as well as a compositional style whose fusion of
African-American protagonists, is that they were all male-oriented films. classical elegance and in-your-face-delirium suggested Orson Welles. In Mondo Keyhole
(1966, additional footage directed by John Lamb), about a rapist husband and his junk-
Coffy changed all of that. addicted wife, Hill appropriated images ranging from “American Gothic” to cheesecake
photos to furniture advertisements, a visual clash of the perverse and the mundane that
The company behind Coffy was American International Pictures (originally called American critiqued the ideology of modern society, in particular the objectification of women. Such
Releasing Corporation), created in 1954 by James H. Nicholson and Samuel Z. Arkoff. is the double-edge of exploitation cinema, revealing the artifice of entertainment while
AIP’s initial output catered to the low-brow double-bill tastes of teenagers: It Conquered still delivering batshit-crazy mayhem. Hill’s feminist critiques are also present in Blood
the World (Roger Corman, Runaway Daughters (Edward L. Cahn, both 1956) I Was a Bath (1966, additional material directed by Stephanie Rothman), in which a male artist
Teenage Werewolf (Gene Fowler Jr., 1957), and High School Hellcats (Edward Bernds, murders the women he paints by dipping them in hot wax, quite literally objectifying their
1958), to name just a few. And while all the movies followed what came to be known as beauty. Other films such as Pit Stop (1969), The Big Doll House (1971), The Big Bird Cage
the “A.R.K.O.F.F.” formula—Action, Revolution, Killing, Oratory, Fantasy, and Fornication— (1972), Foxy Brown (1974) (in many ways a spiritual sequel to Coffy), and Switchblade
AIP soon distinguished themselves from other fly-by-night B-companies through not only Sisters (1975) not only focused on female characters, but also broadened the scope of
their endurance and prolific output, but by the actual quality of their films (well, some roles available to actresses, allowing them to be as tough, violent, wild, and adventurous
of them). Amidst all of the drive-in sensationalism, there emerged a series of genuine as their male counterparts.
masterpieces from then-emerging directors, including Corman’s Poe cycle (eight films
between 1960 and 1965), Curtis Harrington’s Night Tide, Francis Ford Coppola’s Dementia In Grier, Hill found the perfect embodiment of this modern, revolutionary heroine. Originally
13 (both 1963), Sidney Lumet’s The Pawnbroker (1965), Corman’s The Wild Angels (1966), hired as a receptionist for AIP’s offices in Los Angeles, Grier was encouraged to audition
Leonard Kastle’s The Honeymoon Killers (1969), and Martin Scorsese’s Boxcar Bertha for a role in Hill’s The Big Doll House, AIP’s latest “women in prison” picture to be shot on
(1972). These weren’t just background images to ignore while making out in a car, they the cheap in the Philippines. The story was far from sophisticated: it was about a group of
were avant-garde pulp: a mixture of counter-cultural edginess, artistic ambition, formal prisoners in an all-female jail who band together to fight the sadistic female warden and
elegance, and forward-thinking cinematic innovation. This was cinema at the fringes of bust out of the joint. On the surface, the film was little more than an excuse for scantily
society, using exploitative attractions to reveal the ugly truth about the contemporary clad bombshells to catfight and roll around in the mud for 90 minutes, but therein lay
world. Dirty, cheap films for a dirty, cheap audience in a dirty, cheap world. the subversive brilliance of exploitation cinema: that’s exactly what The Big Doll House
was, but that is also what separated it from the mass stupidity of mainstream cinema
One of the producers behind the scenes at AIP was Larry Gordon. He was hoping to develop that gender-locked women into playing conservative and limiting roles. The prisoners of
an ass-kicking female-focused film along the lines of Shaft called Cleopatra Jones. When The Big Doll House weren’t just breaking out of a jungle jail—they were breaking out of
that project wound up going to Warner Bros. instead (where it would be made with Tamara cultural confinement, too, tearing down the walls of cinema’s own prison. Pam auditioned
Dobson, later Grier’s roommate), Gordon wanted to strike back and beat the competition to to play one of the prisoners (a lesbian who plays informant to the warden in order to
the punch. He called on Jack Hill to create “a black woman revenge film.” For the opening, satisfy her girlfriend’s junk habit) and was given the role on the spot. “I had no concept
Gordon wanted “this woman to just kill the shit out of two guys,” Hill remembered during of categories like A, B, or C movies. A movie was a movie, and I intended to deliver an A
this release’s accompanying commentary track. “That’s what I had to work with and I performance, no matter what anybody else did,” Grier related in her memoir, Foxy: My Life
created the story from that.” In the end, Hill only had 18 days and $500,000 to complete in Three Acts. “Since I was playing a radical black woman, I could draw personally from

8 9
my own anger and the anti-war rallies I’d observed at UCLA and in Colorado when I lived the 1950s and 1960s, but also injected true grit, surreal violence, street realism, and
there. That kind of raw energy was real for me, and I worked hard to make sure none of it a fantastic grandeur into noir that most certainly influenced the Blaxploitation films of
looked fake or manufactured.” the 1970s. Flower Child Coffin also represents the shattered idealism of the 1960s,
the peace-loving person she wants to be but can’t in the face of the politically corrupt,
Grier’s performance won her instant adoration from AIP. From the moment she hit the racist, sexist, and drug-and-poverty ridden world she inhabits. In In the Heat of the Night
screen, Grier wasn’t an actor-in-training, she was a natural born star. She stayed in the (Norman Jewison, 1967), Sidney Poitier as Mr. Tibbs had to fight oppression from inside
Philippines for two more “women in prison” pictures, including Hill’s The Big Bird Cage the boundaries of the system; in Coffy, Grier is like a renegade Mr. Tibbs, someone outside
and Gerardo de León’s Women in Cages (1971). While these and other exploitation pictures of the system who doesn’t have to be nice and play by the rules.
would boost Grier’s career, it wasn’t until 1973 that she would achieve screen immortality.
As a heroine (or anti-heroine, as the case may be, considering how many conventions she
“You want me to crawl, white motherfucker? You want to spit on defies), Coffy is an amalgamation of many different archetypes. She borrows the best,
me and make me crawl? I’m going to piss on your grave tomorrow.” the most alluring, and the most badass characteristics from an array of predecessors,
building on their styles while creating something undeniably her own. Whereas women
In Coffy, Pam Grier redefined what it meant to be a powerful black woman on screen (as in crime stories were often restricted to supporting roles (the secretary, the girlfriend,
well as a powerful woman, and—hell—a powerful person in general). What she did on the wife, the victim), Coffy takes the lead role as the hardboiled action protagonist. More
screen in 1973 was radical—and would have been as impossible at any other time. Just than just muscle, she’s also part femme fatale—the dangerous woman of film noir who
four decades earlier, things were quite different for black actresses. In the 1930s, Theresa manipulates men with her intelligence, sexuality, and ambition, like Barbara Stanwyck in
Harris was relegated to the background (and often in uncredited roles) at Warner Bros. Double Indemnity (Billy Wilder, 1944) or Peggy Cummins in Gun Crazy (Joseph H. Lewis,
Louise Beavers and Fredi Washington broke new ground as the mother and daughter pair 1950). (Cummins’ line, “I’ve been kicked around all my life, and from now on, I’m gonna
in the original Imitation of Life (John M. Stahl, 1934), and it was remarkable that Hattie start kicking back,” almost sounds like it could have been written expressly for Grier).
McDaniel won the Oscar as Mammy in Gone with the Wind (Victor Fleming, 1939). The Coffy is also a working class warrior who, like Stanwyck in Baby Face (Alfred E. Green,
1940s and 1950s saw actresses such as Lena Horne and Dorothy Dandridge making 1933), uses her sexuality to infiltrate, dominate, and ultimately destroy, the patriarchal
bold strides forward, too, while the 1960s brought a new generation of black actresses hegemony that is trying to keep her down. (In her 2010 autobiography, Grier herself noted
to the screen, including, Diahann Carroll (Hurry Sundown, Otto Preminger, 1967), Ruby the similarity between her films and 1930s Pre-Code cinema: “The plots nearly always
Dee (A Raisin in the Sun, Daniel Petrie, 1961), Abbey Lincoln (Nothing But a Man, Michael resembled old Warner Bros. melodramas, with dashes of MGM fashion glamour—via the
Roemer, 1964), Cicely Tyson (The Heart is a Lonely Hunter, Robert Ellis Miller, 1968), and street—thrown in. It was common for the persecuted female character, angry and less
even Eartha Kitt as television’s Catwoman (she would later appear with Grier in Friday conflicted than her male counterpart, to destroy a white-based power structure that had
Foster, Arthur Marks, 1975). Grier took things to a whole other level. Because Coffy was caused pain and harm to herself and her family.”) Coffy is also like the Black Angels of
an independent, exploitation film, she was allowed to be sexier, smarter, sassier, and more Cornell Woolrich’s noir nightmares (The Bride Wore Black [1940, filmed in 1968], The Black
individualistic than almost any woman in film history. Her performance has had such Angel [1943, filmed in 1946], Deadline at Dawn [1944, filmed in 1946]), the devoted lover
influence that it is easy to take for granted just how revolutionary Grier was at the time, who ventures into the shadows for revenge. With her espionage expertise, sexual prowess,
and you’d still be hard pressed to find any character on screen now to rival Coffy. and verbal wit, Coffy is also a bit like James Bond (though, unlike him, she doesn’t need Q
or his hi-tech gadgets, nor is she a walking-and-talking relic of sexism). And then there’s
Just who is Coffy? That’s her nickname, short for Flower Child Coffin, a name that her vigilante spirit, which pre-dates such iconic revenge flicks such as Walking Tall (Phil
conjures up images of Spaghetti Western antihero Django, dragging around his coffin full Karlson, 1973), Death Wish (Michael Winner, 1974), Street Law (Enzo G. Castellari, 1974),
of guns (in a way, she is like a western gunslinger, out for revenge and dragging around Taxi Driver (Martin Scorsese, 1976), I Spit On Your Grave (Meir Zarchi, 1978), and The
her metaphorical coffin of social and personal wrongs that need righting). “Coffin” also Exterminator (James Glickenhaus, 1980), among many others. And with her extreme
reminds of Coffin Ed and Gravedigger Jones, Chester Himes’ African-American revisionist willingness to blow her opposition away—as well as her signature farewell speeches—
hardboiled private eyes that not only diversified the racial landscape of crime fiction in she’s a ‘Dirty’ Harry Callahan for the radical left. What’s significant about Coffy’s lineage is

10 11
12 13
that she is largely co-opting characteristics that belonged to male characters. By merging Arbus). Appearing as Coffy’s boyfriend, a straight cop in a world of corruption, is William
both the male detective figure with the femme fatale, Coffy reinvents—and revitalizes— Elliott, who later starred in Henry Hathaway’s final film, Hangup [aka Super Dude] (1974).
the noir genre for the post-Civil Rights generation.
And no Blaxploitation film would be complete without a soulful score to capture the
“To me, what really stood out in the [Blaxploitation] genre was women of color acting like musical zeitgeist of the times. One can’t imagine the great Blaxploitation films without
heroes rather than depicting nannies or maids,” Grier wrote in Foxy. “We were redefining their iconic scores: Isaac Hayes and Shaft, Curtis Mayfield and Super Fly, James Brown
heroes as schoolteachers, nurses, mothers, and street-smart women who were proud and Black Caesar (Larry Cohen, 1974), or Marvin Gaye and Trouble Man. Coffy’s score
of who they were. They were far more aggressive and progressive than the Hollywood was composed by Roy Ayers, the great jazz vibraphonist, who blended funky grooves
stereotypes. Despite the fact that many men and some women were not supportive with complex modernist harmonies. Like with those other films, Ayers’ contribution is so
of female equality like they are today, the roles all made sense to me. After all, these magnificent that it stands on its own as one of the best soundtracks of the 1970s, but it is
were the women with whom I grew up. I guess I was ahead of my time, because today, so fully integrated into the movie that one can’t imagine watching Coffy without the music
contemporary women are scantily dressed but are still dignified and very intelligent.” or listen to the album without seeing the film’s images in your mind.

Grier’s strong dramatic performance and mesmerizing star quality, Hill’s subversive In the end, however, it is Pam Grier and her unstoppable aura that has ensured that Coffy
brilliance, and the film’s vibrant and infectious spirit, made Coffy a hit with audiences. will never be forgotten. It was a role that not only defined, but also redefined, an entire era
Critics, however, were slow to realize the film’s smartness. Instead, they saw more clichés of culture, celebrity, and cinema.
and overlooked the cleverness. “Despite a good deal of lip service against the evils of
drugs and the like, there’s a maximum of footage devoted to exposing Miss Grier,” A.H. Cullen Gallagher is a writer and curator who lives in Brooklyn, NY. His criticism has
Weiler cheekily reviewed in the New York Times when the film was initially released. appeared in the Los Angeles Review of Books, Bright Lights Film Journal, Moving
“What happens? She kills them all off, including her two-timing lover. All of which leaves Image Source, and other film and literature publications.
a viewer with the happy thought that she now can get back to nursing and away from
films like Coffy.” Meanwhile, Variety offered the backhanded, sexist compliment, “Grier, a
statuesque actress with a body she doesn’t hesitate to show, is strongly cast.” Roger Ebert
dismissed of the film’s professionalism, seeing it as a detriment rather than a strength:
“Coffy is slightly more serious and a little more inventive than it needs to be.” On the
other hand, Ebert was one of the rare critics who was able to pick up on Grier’s screen-
shattering star persona. “She’s beautiful, as I’ve already mentioned, but she also has a
kind of physical life to her that is sometimes missing in beautiful actresses. She doesn’t
seem to be posing or doing the fashion-model bit; she gets into an action role and does it
right.” Still, he only gave the film “two stars.”

Such a humble beginning for a film that, forty-one years later, is an enduring classic.

Part of why the film holds up so well is that, like any great movie, it is an ensemble effort.
Supporting Grier was a cast of cult cinema’s finest, including longtime Hill collaborator,
virtuoso character Sid Haig (who would ultimately appear in several films with Grier,
including The Big Bird Cage, The Big Doll House, Black Mama White Mama, Eddie Romero,
1973, and Jackie Brown, Quentin Tarantino, 1997), who here plays the bodyguard to
mob kingpin Vitorini (played by Allan Arbus, ex-husband of famed art photographer Diane

14 15
16 17
 Pam Grier
Baadassss Song in 1970. The film was a major financial success (it was made on a
limited budget) and received mixed critical reviews particularly from African American
film critics in its depiction of the African American man. Two other films, Shaft and Cotton
Comes to Harlem (Ossie Davis), also came out in 1970. The former, which focused on
by Yvonne [Link] an African American detective named John Shaft, was directed by former Life magazine
photographer Gordon Parks. Shaft received excellent reviews from film critics and
featured an Oscar-winning soundtrack produced by Isaac Hayes. Richard Roundtree’s
On May 26th, 1949 Pamela Suzette Grier was born in Winston-Salem, North Carolina to portrayal of an African American private detective was immensely popular with the young,
Clarence Grier (retired Air Force) and Gwendolyn Sylvia (a nurse). In her early years, urban African American movie audience. Pam Grier’s was about to become the “Queen of
Grier’s family lived in many states as well as in the UK because of her father’s occupation. Blaxploitation” movies with her portrayal of an everyday African American woman thrust
Eventually, the Grier family settled in Denver, Colorado. By this time, Grier had a younger into circumstances that forced her character to protect her loved ones and in doing so
brother and a sister would soon complete the family. In her autobiography Foxy: A Life created the prototype for the action heroine.
in Three Acts (Pam Grier and Andrea Cagan, 2010), she fondly recalls her grandparents
in particular, her cousins and growing up in the era of racial prejudice. While she did not She left Denver and moved to Los Angeles. Initially, she wanted to attend film school,
grow up in the South when Jim Crow was in effect, the fact that her father was in the Air but needed a job so that she could save money to go. In her autobiography, Grier states
Force did not provide a shield from racism. When her father was transferred to Columbus, that she contacted David Baumgarten who hired her as the receptionist in his office
Ohio, the family could not stay on the base (African American families were not allowed to (79). She began to meet many people in the film and music industry and for a while
live on Air Force bases) and had to make arrangements to find housing elsewhere in the worked as a back-up singer for the late R&B singer Bobby Womack. Soon, she moved
city. Her first memory of racial prejudice was in Columbus, where she, her mother and to the position of head receptionist for American International Pictures (AIP), founded by
Rodney, her younger brother walked home with an arm full of groceries and no city bus Samuel Arkoff. AIP produced well over 200 Blaxploitation movies between 1971 and 1975.
would stop to pick them up. Because of the heat, it took them longer than usual to reach When an agent told Grier about Roger Corman’s The Big Doll House (Jack Hill, 1971), she
home that day and eventually, one bus did stop. It was empty and the white driver (Life in auditioned for a part and won the role. She starred in another Corman-produced movie
Three Acts: A Memoir) gave them a ride home. Women in Cages (Gerardo de Leon, 1971) and during this period performed in two more
of Corman’s productions including The Twilight People (Eddie Romero, 1972) and The Big
Upon graduating from high school, Grier enrolled at Metropolitan State College while Bird Cage (Jack Hill, 1972). Even before appearing in Corman’s movies, she had a role in
simultaneously working at several jobs including a radio station that became the catalyst Russ Meyer’s Beyond the Valley of the Dolls (1970), and Black Mama, White Mama (Eddie
for her future career as an actress in Hollywood. Working as a receptionist for KHOW radio, Romero, 1973) – a female version of the Sidney Poitier and Tony Curtis vehicle The Defiant
Grier was persuaded to enter their beauty pageant, where she won. She competed for the Ones (Stanley Kramer, 1958), before landing the one that would cement her status as an
title of Miss Colorado Universe and was runner up, however two talent agents approached actress, Coffy (Jack Hill, 1973). Audiences responded to Grier, and she felt, as she notes in
her after the pageant. David Baumgarten and Marty Klein represented several actors her autobiography, “they were hungry for a female action hero” (124). Grier was astute in
between them that appeared in the late 1960s popular television show Laugh In. One of recognizing that urban audiences wanted action heroes and heroines they could identify
the talent agents, Marty Klein represented Richard Roundtree whose first leading role was with long before they would appear in mainstream films.
Shaft (Gordon Parks, 1971). Both convinced her to go to Hollywood. At this time, the film
industry was undergoing a change particularly for African American actors who historically Grier writes “to me, what really stood out in the genre was women of colour acting like
were restricted to servitude roles. heroes rather than depicting nannies or maids” (126). After Coffy, Grier became the ‘Queen
of Blaxploitation” with starring turns in Scream Blacula Scream (Bob Kelljan, 1973), Foxy
Grier’s meeting with Baumgarten and Klein proved pivotal as she was about to become Brown (Jack Hill, 1974), ‘Sheba, Baby’ (William Girdler, 1975), Friday Foster (Arthur Marks,
the face of a new genre of movies that focused exclusively on African Americans. 1975). Throughout the 1970s, Grier worked consistently. Originally she achieved fame
Blaxploitation movies appeared not long after Mario Van Peeble’s Sweet Sweetback’s in Blaxploitation movies, but with the demise of the genre, she continued to work. Ms.

18 19
Magazine recognised Grier as an actress portraying empowering figures for women and
featured her as a cover star and interviewed her about her roles.

Many African American actors did not enjoy the same success once audiences no longer
responded to Blaxploitation movies and moved onto blockbusters. The 1980s were not
as good for Grier as the early 1970s had been, nonetheless she continued to appear in
films, television and Denver-based theatre, with roles in films including Fort Apache, the
Bronx (Daniel Petrie, 1981) and Above the Law (Andrew Davis, 1988) and the popular
TV-shows Miami Vice (Anthony Yerkovich, 1984-90) and Crime Story (Chuck Adamson,
Gustave Reininger, 1986-88).

The 1990s fared better and would bring recognition in the form of a Best Actress Golden
Globe nomination for her performance in Quentin Tarantino’s Jackie Brown (1997), a role
which brought her a new generation of fans. Based on the late novelist Elmore Leonard’s
Rum Punch (1992), many, including Tarantino, thought Grier’s character was an older
version of Foxy Brown.

The movie was a success and revitalised her acting career. Tarantino has not been shy
in admitting his love of Blaxploitation movies and who better to play this heroine than
the Queen of Blaxploitation herself. Since Jackie Brown, Grier has found great success
in television with The L Word (Michele Abbott, Ilene Chaiken, Kathy Greenberg, 2004-
09) where she starred in all the show’s seventy episodes. Grier continues to work in
film and television and while she may not necessarily embrace the “Queen” moniker for
her Blaxploitation work; it is precisely her earlier work that in many ways has kept her
busy as an actress. Grier and Blaxploitation remain synonymous; and this is her lasting
contribution to the genre.

Yvonne D. Sims is a Professor at South Carolina State University where her research
interests include race, ethnicity and gender in popular culture, film studies. She
is also the author of Women of Blaxploitation: How the Black Action Film Heroine
Changed American Popular Culture.

20 21
 About the Transfer
Coffy was transferred from a 35mm Interpositive. The film was transferred in High Definition
by Ascent Media. The audio was transferred from a restored 35mm mono mag. Additional
picture restoration was performed under Arrow’s supervision at Deluxe Restoration, London.

Some minor picture and audio issues remain, in keeping with the condition of the
original materials.

Restoration Supervisor: James White/Arrow Video

Restoration Technicians: Clayton Baker, Tom Barret/Deluxe Restoration

Production Credits
Disc and Booklet Produced by Francesco Simeoni
Production Assistants: Louise Buckler, Liane Cunje
Technical Producer: James White
QC and Proofing: Anthony Nield, Francesco Simeoni
Authoring: David Mackenzie
Subtitling: IBF Digital
Artist: Gilles Vranckx
Design: Jack Pemberton

Special Thanks
Academy of Motion Picture Arts and Sciences, Alex Agran, David Bixler, Sam Dunn,
Phil Escott, Michael Felsher, Cullen Gallagher, Scott Grossman, Jack Hill, Naomi Holwill,
Mikel Koven, Kevin Lambert, Alistair Leach, Roger Mancusi, MGM, Jennifer Rome,
Yvonne D. Sims, Melanie Tebb, Twentieth Century Fox, Calum Waddell

Further Viewing
Foxy Brown, Jack Hill’s follow up to Coffy, also starring Pam Grier is available from Arrow
Video on Blu-ray along with the earlier works, Spider Baby and Pit Stop, starring his
regular collaborator Sid Haig, are also available on Dual Format DVD and Blu-ray.

22 23
24 FCD1075