Shaft's Big Score! | |
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Directed by | Gordon Parks |
Written by | Ernest Tidyman |
Based on | Shaft 1970 novel by Ernest Tidyman |
Produced by |
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Starring | |
Cinematography | Urs Furrer |
Edited by | Harry Howard |
Music by | Gordon Parks |
Distributed by | Metro-Goldwyn-Mayer |
Release date | |
Running time | 104 minutes |
Country | United States |
Language | English |
Budget | $1.9 million |
Box office | $10 million [3] |
Shaft's Big Score! is a 1972 American blaxploitation action-crime film starring Richard Roundtree as private detective John Shaft. [4] It is the second entry in the Shaft film series, with both director Gordon Parks and screenwriter Ernest Tidyman reprising their roles from the first film. Moses Gunn and Drew Bundini Brown also return from the previous film, alongside new appearances from acting veterans Joseph Mascolo, Julius Harris and Joe Santos. [4] Composer Isaac Hayes turned down an offer to score the film (though he did contribute the song "Type Thang"), so Parks, also a musician, composed and performed the score himself.
The film was produced on a budget of $1,978,000, over three times that of its predecessor. It received mixed reviews, with critics praising the improved production values and direction, but criticizing it as lacking the charm and appeal of the original. It was followed by Shaft in Africa one year later.
Queens private detective John Shaft is contacted by his old friend Cal Asby, an insurance salesman and mortician, who tells him he's in trouble and asks him to come immediately. As soon as Shaft arrives, Asby is killed by a bomb planted inside of his house. Shaft is questioned by a suspicious police Captain Bollin, but is quickly released due to a lack of evidence.
Asby's business partner Johnny Kelly owes mob boss Gus Mascola $250,000 in past gambling debts, money he had planned to take from his partner but had been moved and hidden before his death. Asby's house is ransacked before Shaft, Kelly, and Asby's sister Arna can investigate. When the perpetrator runs out, Kelly blocks Shaft from chasing him while pretending to help. Suspicious, Shaft tells Arna that he wants to inspect Asby and Kelly's partnership papers, warning Kelly he intends to protect Arna.
Bollin reveals to Shaft that Asby and Kelly were running a numbers racket with the insurance company and funeral parlor as profitable fronts but because they agreed to keep the scam clean, he looked the other way. Now that Asby is dead, however, Bollin fears that the mob will move in to take over their businesses. Although Bollin suspects that Shaft may be involved with one of the gangsters, he asks him to help, and Shaft coolly agrees.
Shaft forces one of Kelly's numbers runners to reveal the location of the operation's headquarters. Upon arriving, he is seduced by Kelly's mistress Rita as revenge for her lover's mistreatment. While the two have sex, Kelly is threatened by Mascola, who demands not only to be paid but to be made an equal partner in the operation. Kelly is reluctant, telling the mobster that he is worried about Shaft's interference on Arna's behalf, but after Mascola promises to “take care” of Shaft, Kelly agrees to a 50-50 partnership.
Shaft goes over the partnership papers with Arna and explains that although her brother was involved in gambling, he was reinvesting in the community, unlike the greedy Kelly. He also tells her that Asby had agreed to buy Kelly out, and that Kelly was going to use the money to pay his debts. Shaft believes that Kelly instead killed Asby to gain control of the businesses and the numbers racket, as well as to retain the $250,000 to pay Mascola. As they are talking, two of Mascola's hitmen arrive to murder Shaft but he outwits them and, after killing the assassins, takes Arna to hide at his apartment.
Kelly offers Harlem racketeer Bumpy Jones a partnership in the Queens numbers game if he will help him break with Mascola. Knowing that the action will cause a major turf war, Bumpy agrees but demands a 60–40 split. Shaft goes to Mascola's nightclub, which fronts for his gambling operations in the back rooms. Seeing Shaft at the club, Kelly, who is attempting to double-cross both Mascola and Bumpy, confronts Mascola, demanding to know why Shaft is still alive. Mascola reveals that Shaft killed the two men he sent, and when he declares that their deal is off, Kelly lies that Shaft works for Bumpy and is there to muscle in on his territory. Infuriated, Mascola has his men beat Shaft, then orders him to tell Bumpy to stay in Harlem. Shaft relays the message to Bumpy just as Mascola's men attempt a drive-by shooting, leading to Bumpy agreeing to join forces with the detective.
Shaft overhears that Kelly has discovered the location of the $250,000 in a nearby cemetery, and with Rita's help manages to evade police and make his way there. Mascola and his men take a helicopter to the cemetery, and just as Kelly raises the coffin with the money, killing him and taking it. Shaft arrives and holds up the group, taking the money and Mascola hostage. They flee via speedboat as Mascola's men pursue in a helicopter, shooting and destroying the boat and inadvertently killing Mascola. Shaft escapes the explosion and hides the bag, clambering over the docks in a cat-and-mouse chase with Mascola's men before destroying the helicopter and killings its occupants. Police led by Bollin arrive and demand to know the location of the money. Shaft refuses, but implies he will be donating it to a child care clinic, as Asby had always intended.
Production studio MGM, confident that the Shaft series would be a success, started development of Shaft's Big Score before the original Shaft film was even completed. [5] MGM rejected Ernest Tidyman's first submitted outline for the film, which he turned into the novel Shaft Among the Jews. [5]
In contrast to the original Shaft, which was produced on a $500,000 budget, Shaft's Big Score cost nearly $2,000,000. [5] Like Shaft, however, it was filmed entirely on location in New York City, with specific shooting locations including the Brooklyn Navy Yard and Cypress Hills Cemetery. [6]
MGM attempted to get Isaac Hayes, composer of the soundtrack for Shaft, to score Shaft's Big Score, but negotiations broke down when MGM refused to pay Hayes the amount he demanded. [6]
After two weeks in five theaters, Shaft's Big Score! expanded to an additional 99 theaters and grossed $2,175,811 by the end of its third week. [7] It went on to earn theatrical rentals of $4 million in the United States and Canada. [8] It had a total $10 million gross. [5]
Roger Greenspun of The New York Times observed that "the new Shaft follows a new and glossier and tidier image, an image that is much more James Bond than Bogart." His review concluded, "Gordon Parks keeps improving as a technician, and 'Shaft' Big Score' is far more ambitious and professional than the original 'Shaft.' But it is also more mechanical and more exploitative of the material. And so it becomes less responsible, less detailed, less personal, less serious and less fun." [9] Conversely, Roger Ebert awarded the film 3 stars out of 4, describing it as "mass-audience escapist entertainment" that works better than the original film did. [10] Gene Siskel of the Chicago Tribune also gave the film 3 stars out of 4 and wrote, "The 'Shaft' series works, and will continue to work, because John Shaft is black, beautiful (to women), and a winner." [11] Arthur D. Murphy of Variety stated, "The first 'Shaft' had a running-scared excitement not only in the characters, but also throughout the whole picture. The new film seems more self-conscious, contrived, ambitious, and sluggish." [12] Kevin Thomas of the Los Angeles Times wrote, "As pure escapist fare it's every bit as successful as 'Shaft.'" [13] Gary Arnold of The Washington Post panned the film as "strenuous but unimaginative," [14] expressing disappointment that the filmmakers didn't "attempt to do a little more the second time around—maybe give the hero some more humor and dimension and his adventures more scope and relevance." He also called the absence of Isaac Hayes' score "a crucial loss ... You really miss that sound, which gave 'Shaft' a persistent, rhythmic drive and undercurrent." [15] Clyde Jeavons of The Monthly Film Bulletin wrote, "It's efficient, exciting in a predictable, routine way, and excessively violent (with the emphasis on pyrotechnics, beatings and messy bullet-holes); but plot-wise it's patently absurd, with Shaft's invulnerability attaining supernatural proportions in the climax, as he makes life as easy as possible for his murderous opponents by scampering about suicidally in front of their machine guns, which he survives with nary a scratch." [16]
On review aggregation website Rotten Tomatoes, the film holds a "rotten" rating of 58% based on 12 reviews. [17]
Shaft's Big Score! premiered in New York City on June 21, 1972. [1] [2] The film was released on DVD initially on June 6, 2000, then August 30, 2005, and finally January 31, 2006 by Warner Home Video. It was included on a Blu-ray as part of the 2022 Criterion Collection 4K release of the first film. [18]
Shaft is a 1971 American blaxploitation crime action thriller film directed by Gordon Parks and written by Ernest Tidyman and John D. F. Black. It is an adaptation of Tidyman's novel of the same name and is the first entry in the Shaft film series. The plot revolves around a private detective named John Shaft who is hired by a Harlem mobster to rescue his daughter from the Italian mobsters who kidnapped her. The film stars Richard Roundtree as Shaft, alongside Moses Gunn, Charles Cioffi, Christopher St. John and Lawrence Pressman.
Ernest Ralph Tidyman was an American author and screenwriter, best known for his novels featuring the African-American detective John Shaft. His screenplay for The French Connection garnered him an Academy Award for Best Adapted Screenplay, as well as a Golden Globe Award, a Writers Guild of America Award, and an Edgar Award. In 1971, he also co-wrote the screenplay for the film version of Shaft with John D. F. Black.
Joseph Peter Mascolo was an American musician and dramatic actor. During his long career, he acted in numerous motion pictures and television series. He played villain Stefano DiMera on NBC's soap opera Days of Our Lives from 1982 to 2016. He also starred as Massimo Marone on the CBS' soap opera The Bold and the Beautiful from 2001 to 2006.
Shaft is a 2000 American action crime thriller film co-written, co-produced, and directed by John Singleton and starring Samuel L. Jackson in the title role with Vanessa Williams, Jeffrey Wright, Christian Bale, Dan Hedaya, Busta Rhymes, Toni Collette and Richard Roundtree. It is a sequel to the 1971 Shaft film, in which Jackson plays the nephew of John Shaft. The film opened at the number-one position at the box office when it debuted June 16, 2000. It received mixed to positive reviews on Metacritic, with the critical consensus on Rotten Tomatoes praises Jackson's charisma.
Richard Arnold Roundtree was an American actor. He was best known for his portrayal of private detective John Shaft in the 1971 film Shaft and four of its sequels, Shaft's Big Score! (1972), Shaft in Africa (1973), its 2000 sequel and its 2019 sequel, as well as the eponymous television series (1973–1974). He was also known for featuring in several TV series, including Roots, Generations, and Desperate Housewives.
John Shaft is a fictional private investigator created by author/screenwriter Ernest Tidyman for the 1970 novel of the same name. He was portrayed by Richard Roundtree in the original 1971 film and in its four sequels—Shaft's Big Score!, Shaft in Africa, Shaft (2000) and Shaft (2019)—as well as in the seven 1973–74 Shaft television films. Samuel L. Jackson portrayed his son, named John Shaft II, in Shaft (2000) and Shaft (2019), and Jessie Usher portrayed the character's grandson in Shaft (2019). The blurb on the paperback on which the original film is based states Shaft is "Hotter than Bond, cooler than Bullitt."
Ellsworth Raymond "Bumpy" Johnson was an American crime boss in the Harlem neighborhood of New York City.
Shaft in Africa is a 1973 American blaxploitation film directed by John Guillermin, and the third film of the Shaft series, starring Richard Roundtree as John Shaft. Stirling Silliphant wrote the screenplay. The film's budget was $1.5 million, but the film was a box office flop, grossing just $1 million. Metro-Goldwyn-Mayer quickly sold the property to television, but the television series was cancelled after just seven episodes.
Moses Gunn was an American actor of stage and screen. An Obie Award-winning stage player, he is an alumnus of the Negro Ensemble Company. His 1962 off-Broadway debut was in Jean Genet's The Blacks, and his Broadway debut was in A Hand is on the Gate, an evening of African-American poetry. He was nominated for the 1976 Tony Award for Best Actor in a Play for his performance in The Poison Tree, and he also played Othello on Broadway in 1970. For his screen performances, Gunn is best known for his roles as Clotho in WUSA (1970), Bumpy Jonas in Shaft (1971) and Joe Kagan on Little House on the Prairie (1977–1981).
Shaft is a television series that aired along with Hawkins during 1973–74 television season on The New CBS Tuesday Night Movies. Broadcast every third week, the series is a follow-up continuation of the three feature films that preceded its release. Starring Richard Roundtree as private detective John Shaft, it serves as the fourth installment overall in the Shaft franchise. Ed Barth costars as Al Rossi.
Shaft is a double album by Isaac Hayes, recorded for Stax Records' Enterprise label as the soundtrack LP for Metro-Goldwyn-Mayer's 1971 blaxploitation film Shaft. The album mostly consists of instrumentals composed by Hayes as score for the film. Three vocal selections are included: "Soulsville", "Do Your Thing", and "Theme from Shaft". A commercial and critical success, Shaft is Hayes' best-known work and the best-selling LP ever released on a Stax label.
"Theme from Shaft", written and recorded by Isaac Hayes in 1971, is the soul and funk-styled theme song to the Metro-Goldwyn-Mayer film Shaft. The theme was released as a single two months after the movie's soundtrack by Stax Records' Enterprise label. "Theme from Shaft" went to number two on the Billboard Soul Singles chart and to number one on the Billboard Hot 100 in the United States in November 1971, and number one in Canada in December. The song was also well received by adult audiences, reaching number six on Billboard's Easy Listening chart and number four in Canada. The song is considered by some to be one of the first disco songs.
Drew Bundini Brown was an American assistant trainer and cornerman of heavyweight champion boxer Muhammad Ali.
Living in a Big Way is a 1947 American musical comedy film starring Gene Kelly, Marie McDonald as a couple who marry during World War II after only knowing each other a short time. This was director Gregory La Cava's final film.
Brigadoon is a 1954 American Metro-Goldwyn-Mayer musical film made in CinemaScope and color by Ansco based on the 1947 Broadway musical of the same name by Alan Jay Lerner and Frederick Loewe. The film was directed by Vincente Minnelli and stars Gene Kelly, Van Johnson, and Cyd Charisse. Brigadoon has been broadcast on American television and is available in VHS, DVD and Blu-ray formats.
Blaxploitation is an ethnic subgenre of the exploitation film that emerged in the United States during the early 1970s, when the combined momentum of the civil rights movement, the black power movement, and the Black Panthers spurred African-American artists to reclaim the power of depiction of their ethnicity, and institutions like UCLA to provide financial assistance for African-American students to study filmmaking. This combined with Hollywood adopting a less restrictive rating system in 1968. The term, a portmanteau of the words "black" and "exploitation", was coined in August 1972 by Junius Griffin, the president of the Beverly Hills–Hollywood NAACP branch. He claimed the genre was "proliferating offenses" to the black community in its perpetuation of stereotypes often involved in crime. After the race films of the 1940s and 1960s, the genre emerged as one of the first in which black characters and communities were protagonists, rather than sidekicks, supportive characters, or victims of brutality. The genre's inception coincides with the rethinking of race relations in the 1970s.
The New CBS Tuesday Night Movies was a weekly 90-minute motion picture made expressly for television. The series aired on CBS from 1971 to 1974. During its first two seasons, the program was similar to ABC's Movie of the Week, which presented a brand-new full-length feature film in a regular weekly time slot with no connecting theme or arc among the films. In the fall of 1972, the series moved from Friday nights to Tuesdays, with its Friday night slot given back to traditional previously released theatrical films under The CBS Friday Night Movies banner.
Rosalind Miles was an American film and television actress and fashion model. Miles was most known for her roles in film during the early to late 1970s. Miles appeared in mostly American blaxploitation films such as; Shaft's Big Score!, The Black Six and Friday Foster.
Shaft is a 2019 American action comedy film directed by Tim Story and written by Kenya Barris and Alex Barnow. The film stars Samuel L. Jackson, Jessie T. Usher, Regina Hall, and Richard Roundtree. It is the fifth film in the Shaft series, a sequel to the 2000 film with the same title and was also Roundtree's final portrayal of the original eponymous character John Shaft Sr. before his death in 2023.
The Shaft franchise consists of five action-crime feature films and seven television films, centered on a family of African-American police detectives who all share the name John Shaft. The first three features may be described as blaxploitation films, the television film series is a mystery, and the fourth feature installment is a crime thriller. By contrast the fifth film installment, released to Netflix, is a satirical buddy-cop comedy.
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