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	<title>Obsessed With Film &#187; Cult Actors</title>
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		<title>Cult Actors: BRUNO S.</title>
		<link>http://www.obsessedwithfilm.com/specials/cult-actors-bruno-s.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/cult-actors-bruno-s.php#comments</comments>
		<pubDate>Tue, 12 May 2009 19:01:39 +0000</pubDate>
		<dc:creator>Tom Fallows</dc:creator>
				<category><![CDATA[Bruno S]]></category>
		<category><![CDATA[Cult Actors]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Features]]></category>
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		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=23575</guid>
		<description><![CDATA[

In post war Germany delinquency was common. Families were destitute and crime was a ready outlet for the desperate. In newspapers, reports of underage criminality were sensitive to the perpetrators youth and, rather than print their full identity, they would give only their first name followed by an initial. This is how Bruno S. was first introduced to his public.

And it is apt, for Bruno was a cinematic delinquent. He stared in only two films (both for Werner Herzog) and had no formal training in acting. Herzog called him:
“The unknown soldier of German cinema.”
Yet he was more than that. He was a radical and one of the most honest actors to ever grace our screens.

Bruno came to our attention in a 1970 German documentary entitled Bruno the Black - One Day A Hunter Blew His Horn. Here we met a humble fork lift trunk driver who devoted all of his free time to music and street performing. He dressed like a tramp: his brown hair wild, his face unshaven, his clothes dishevelled and creased.

Alone he prowled the Berlin slums, carrying behind a cart full of bells, an accordion, a bugle and other musician’s tools. He was completely self-taught and performed ...]]></description>
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		<item>
		<title>Cult Actors #7: Pam Grier</title>
		<link>http://www.obsessedwithfilm.com/specials/cult-actors-7-pam-grier.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/cult-actors-7-pam-grier.php#comments</comments>
		<pubDate>Mon, 21 Jul 2008 11:31:52 +0000</pubDate>
		<dc:creator>Tom Fallows</dc:creator>
				<category><![CDATA[Cult Actors]]></category>
		<category><![CDATA[Cult Movie Actors]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[pam-grier]]></category>

		<guid isPermaLink="false">http://www.obsessedwithfilm.com/?p=11989</guid>
		<description><![CDATA[



“Have no fear; Pam Grier is here…a chick with drive, who don’t take no jive.”
The trailer for Coffy (1973)

She began as a junkie willing to do anything to get straight – so we think – ready to give herself to a two-bit dealer in return for the needle. She’s wears a short dress, styles her hair in an impressive afro and has a body that curves in all the right places. 


“Hey, big man,” she purrs crawling into his bed. “Why don’t you turn off the lights?”

He gets out of bed, plunges the room into darkness and turns to see the girl – Coffy – pointing a sawn-off shotgun at his head. Her brown eyes twinkle in the moonlight.


“This is the end of your rotten life you mother fucking dope pusher,” she says before blasting a hole in the gangster’s head.

Pam Grier had arrived.

1973s Coffy didn’t just make Grier a star; it turned her into an instant icon. Black women suddenly had an independent role model who they could look up to, and men everywhere fell in love with a lady they wanted, but weren’t sure they could handle.


The film came right in the middle of the blaxploitation movement in ...]]></description>
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