He may be dead, but Colley adds the sorely needed life to the proceedings that Bey and a strangely sleepwalking Quarry can't.
In fact, Bey is so abrasive and Elliott's character so impossibly naive that it's hard to feel much sympathy for either one.
Taking a page out of Film Noir's book, Grier's characters would often have a black widow quality to them, often using their sexuality as a weapon, proving that she's the baddest and most dangerous of them all.
Bey is merely adequate, contributing little more than eye candy and hairstyle changes.
Dobson kept her integrity intact, refusing to do nude scenes, which really set her apart from the hyper-sexuality of other black heroines of the time.
These films would also go on to inspire future filmmakers to create empowering female characters.
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Grier was influential in establishing that African American sexuality, Afro hairstyles, and big sunglasses were acceptable and far from unattractive.