Slaughter's Big Rip-Off
|Slaughter's Big Rip-Off|
|Box office||$1 million (US/ Canada rentals)|
Slaughter's Big Rip-Off is a 1973 Blaxploitation film which was released during the 1970s Blaxploitation film era. It is directed by Gordon Douglas. From its famous tagline “The mob put the finger on Slaughter …so he gave them the finger right back curled around a tight trigger” the sequel is a crime/drama/action film protagonized by football legend Jim Brown.
The plot of Slaughter's Big Rip-Off begins where the original Slaughter had ended. Slaughter, a fierce Vietnam Veteran and ex Green Beret had avenged the death of his parents by killing the gangster/ mob member- who was responsible for their death- in Mexico. The sequel is relocated in Los Angeles, California- a place that Slaughter sought to escape the past events and begin his attempt to a tranquil life in the beautiful city of angels. The film opens up with Slaughter (Jim Brown) at a friend's house during a lavish outdoor picnic/lunch celebration. The new crime boss, Duncan played by Ed McMahon is now after Slaughter, for having killed ex Mafia Boss, Dominc Hoff from director Jack Starrett's 1972 Slaughter . The viewer sees a change in theme as the mob is now after Slaughter to settle the score. The opening scene begins with an old World War One biplane flying by the outdoor celebration and then opening fire on the members at the picnic. It resulted in the graphic death by headshot of Slaughter's friend which reignited the old spark of fury and rage that Slaughter had when he was told of the death of his parents. Duncan's first assassination attempt in essence was a failure and only proved to wake up a sleeping beast. He therefore, hired a new hit-man named Kirk-played by Don Stroud- to bring Slaughter to his own demise. Rather than being in protective custody under the supervision of Duncan's crooked cops Slaughter remains on the streets and is now out for his new enemy, Duncan. Slaughter's new friend, who is a police official, Det. Reynolds, warns him of the looming danger, and that his life is in peril. Slaughter also has a girlfriend named Marcia,[Gloria Hendry], who is also being targeted by the mob, under Duncan's orders, to further provoke Slaughter. Slaughter makes an agreement with Detective Reynolds [Brock Peters], to obtain confidential documents of the mafia's operations. Duncan, the mobs' new syndicate boss, is the exact opposite of Slaughter. He has shaggy dog hair parted down the middle, big flashy glasses, and a beer belly. Nonetheless, Slaughter acquires a semi-sidekick pimp, who is a coke drug addict to assist him in breaking into Duncan's safe house and successfully escape with the documents. After some brutal gun fights, Slaughter and his pimp sidekick kill several of Duncan's guards and fellow mobsters, and then break into Duncan's safe, successfully stealing the confidential documents. In response, Duncan sends out his top ace hit-man, Kirk, [played by Don Stroud], to kidnap Slaughters girlfriend. Duncan's efforts to get the documents back served to no avail. Metaphorically speaking, Duncan bit off more than he could chew. Slaughter was a fierce “black buck” and successfully brought Duncan to his own demise. (Slaughter's Big Rip-Off 1973) 
“Just about every tough black actor was given the opportunity to create his own blaxplotation hero in the early 70s. Ron O'Neal had Super Fly, Richard Roundtree had Shaft, Fred Williamson had Hammer and Jim Brown had Slaughter. Although the football player turned thespian had a handful of film roles going back to the mid-60s, Slaughter represents his first real starring vehicle. While not critical favorites by any means, Slaughter and its sequel Slaughter's Big Rip-Off are action-jammed fun in the typical AIP (American International Pictures) tradition.” “This go around Jim Brown, as Slaughter, actually tightens in the reigns and proves himself the tight-lipped bad-ass we want from an action hero; a decent guy, who may mix with low-lifes but shall never be tainted by them, he is practically godly.” 
The album for Slaughter's Big Rip-Off and the songs associated with it were composed by James Brown. Tracks:
- Slaughter's Theme Song (4:01)
- Tryin' to Get Over (2:28)
- Transmorgrapfication (2:00)
- Happy for the Poor (2:45)
- Brother Rapp (3:04)
- Big and Strong (3:19)
- Really, Really, Really (1:51)
- Sexy, Sexy, Sexy (3:11)
- Tony Brother (2:12)
- How Long Can I Keep Up (5:31)
- People Get Up and Drive Your Funky Soul (3:43)
- King Slaughter (2:46)
- Straight Ahead (2:45)
Jim Brown as Slaughter Ed McMahon as Duncan Don Stroud as Kirk Brock Peters as Reynolds Gloria Hendry as Marcia Dick Anthony as Williams Joe Creole Art Metrano as Mario Burtoli Judith Brown as Norja Jacquliene Giroux as Mrs. Duncan Eddie Lo Russo as Arnie Russ McGinn as Harvey Parker Hoke Howell as Jimmy Parker Chuck Hicks as Lyle Parker Russ Marin as Crowder Nick Benedict as Gains 
In theater: USA 31 August 1973 Slaughter 2/Slaughter's Big Rip-Off Austria March, 1977 Der Sohn des Sweden 4 March 1974 Slaughter slar till West Germany 18 March 1977 Der Sohn des France 23 October 1974 Lo executer noir Spain (not specified) Masacre Dos  On DVD/VHS: January 9, 2001 as an entertaining 70s action/drama movie. Subtitles for the DVD are available in Spanish and French. However, the DVD was only distributed in the U.S. and Canada by studio MGM (video and DVD). It has a runtime of approximately 92 minutes. 
Gordon M. Douglas – Director Monroe Sachson – Producer Charles Johnson – Screenwriter Charles Wheeler – Cinematographer Charles Bobbitt – Songwriter James Brown – Composer (Music Score) Brown Weley – Songwriter Fred Welsey – Composer (Music Score) Fred Wesley – Composer (Music Score) Christopher Holmes – Editor Alfeo Bocchicchio – Art Director Anthony C. Montenaro – Set Designer John V. Speak – Sound/Sound Designer Logan R. Frazee – Special Effects Ray Taylor – First Assistant Director • It was produced in association with the American International Pictures filming company. The majority of the filming took place in Los Angeles, California. • It is Rated R for brief nudity, adult language, violence, and adult situations. The sequel also features and explores themes such as inner city blues, lone wolves, vigilantes/ vigilante justice, as well as heroic missions. • Jim Brown's “Slaughter” character is the highlight of his filming career. 
The 1960s were a turbulent time in American race relations. However, as the decade proceeded on to the 1970s decade and onward, black filmmakers and actors/actresses began to infiltrate Hollywood. The 1970s is the highlight of the blaxploitation film era and gave rise to several films that included black actors/actresses.
Blaxplotation movies/films, such as Hammer, Shaft, Slaughter's Big Rip-Off and others proved that black actors like Jim Brown or filmmakers such as Melvin Van Peebles possessed a strong box-office appeal “and despite many of the films by white Hollywood, black audiences finally saw the recognition African American actors, directors, and writers deserved, and fought for since the early days of silent film. In retrospect, Blaxploitation and the legacy it left behind have been acknowledged as a positive contribution to African American film history.”(www.separatecinema.com) Segregation within the film industry was thus, also coming to an end and new foundations were being established for the African American Community within the film industry. http://www.separatecinema.com/exhibits_blaxploitation.html</ref> Opportunities that had not previously been attainable by African Americans in the post-Civil Rights decade of the 1970s were now becoming feasible for African Americans. Blaxplotation was booming during the 70s.
“Jim Brown was able to do what many African-American males had previously been denied. He portrayed on the silver screen a black male being aggressive, hip, smart, and playing the big black buck. He was one of the first African-American actors to play romantic love scenes with white female actresses”  Jim Brown made a significant cultural impact as an actor in not only Slaughter but also Slaughters Big Rip-Off. For the first time on the big screen America was viewing Hero-like characters played by black actors. The genre of blaxplotation was being diffused throughout America by means of Movies and Films. Through the arts Slaughter was portrayed as a hero to not simply just end injustice but more importantly to be an icon and symbol for the African American community. As the quote mentions he was the first African American actor to play romantic barriers. He was breaking down the walls and figuratively had the power of the world in his hands. For the first time Americans were viewing a Hero who was not only respected but also accepted in all facets and social situations. Being African American did not hinder his lifestyle Slaughter was portrayed as a fierce “black buck” and nothing was going to bring him down. From this came inspiration for many African Americans that followed his footsteps in the acting industry of Hollywood. Jim Brown truly is a legend.
- "Big Rental Films of 1973", Variety, 9 January 1974 p 60
- Slaughter's Big Rip-Off (1973) – IMDb
- Slaughter's Big-Ripoff
- Slaughter's Big Rip-Off Synopsis – Plot Summary – Fandango.com
- Slaughter/Slaughter's Big Rip-Off
- Movie Review – Slaughter's Big Rip-Off – eFilmCritic
- Amazon.com: Slaughter's Big Rip-Off: Original Soundtrack: James Brown, James Brown, Fred Wesley: Music
- Slaughter's Big Rip-Off (1973) – Full cast and crew
- Slaughter's Big Rip-Off (1973) – Release dates
- Amazon.com: Slaughter's Big Rip-Off: Jim Brown, Ed McMahon, Don Stroud, Brock Peters, Gloria Hendry, Dick Anthony Williams, Art Metrano, Judy Brown, Jacqueline Giroux, Eddie Lo...
- Slaughter's Big Rip-Off > Production Credits – AllMovie
- Rausch, Andrew. Turning Points in Film History. New York: Kensington Publishing Corp., 2004. Print.
- African-Americans in Motion Pictures
- Alexander, George. Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema. New York: Harlem Moon, 2003. Print.