A prime example of the blaxploitation genre,[9][10][11][12][13] it was selected in 2000 for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."[14]Shaft initially had two sequels called Shaft's Big Score! (1972) and Shaft in Africa (1973), though neither enjoyed the critical success of the original.
Plot
In January 1971,[Note 1] private detective John Shaft is informed that some gangsters are looking for him. He spots one of the men waiting for him in his office building and ambushes him. At gunpoint, he brings him to his office, where the second gangster is already waiting. During a short fight, Shaft dodges one of them, who falls out of a window. The other one reveals that Bumpy Jonas, the leader of a Harlem-based organized crime family, wants Shaft brought uptown to Harlem for a meeting. At the police station, Lt. Vic Androzzi and a detective question Shaft about the gangster's death, which Shaft calls an "accident". Androzzi allows Shaft to return to the streets for 48 hours to gather more information. Shaft meets with Bumpy, who tearfully reveals that his daughter has been kidnapped. Shaft is at first dismissive, accusing her of being a runaway or on drugs, until Jonas says she was on her way to college when she got abducted. He asks Shaft to ensure her safe return, and Shaft agrees to help. Bumpy advises that Shaft should seek out Ben Buford, a black militant leader.
Shaft tracks down Buford, and a shootout ensues with an unknown assailant. Afterward, Shaft is told by Androzzi that Shaft, not Ben, was the target, and that tensions brewing between the uptown hoods belonging to Bumpy Jonas and the downtown Mafiosi have culminated in other murders. Androzzi laments that the issue is seen as black-against-white to the general public and worries about the escalation into a full-blown race war. He also shows Shaft some pictures of Mafia men who just arrived in New York. Shaft and Ben meet with Bumpy and accuse him of setting up the shootout. After agreeing to pay $10,000 for each of Ben's men who died, Ben and Shaft join forces to find Bumpy's daughter.
Later, Shaft surmises that mobsters are watching his apartment from a local bar. Shaft pretends to be a bartender and calls Androzzi to have the mobsters arrested. Shaft then confronts the arrested mobsters about Bumpy's daughter, and he sets up a meeting. When he gets home, Vic arrives and tells Shaft that the room at the station house was bugged and his superior wants to bring Shaft in for questioning regarding the kidnapping. Instead of taking him in, Androzzi leaves. Shaft is escorted by a Mafia member to the apartment where Marcy Jonas is being held, and Ben and two of his men tail them. Once there, a shootout ensues: two Mafia men are killed, and Shaft takes a bullet in the shoulder. After receiving medical attention, Shaft tells Ben to round up his men and meet him at the hotel where Marcy has been taken. He calls Bumpy to tell him his daughter is fine, but that he needs taxicabs at the hotel for the getaway.
At the hotel, Shaft, Ben, and Ben's men dress as hotel workers and slowly infiltrate the hotel. Shaft gets to the roof of the hotel, and swings into the room where Marcy is kept. He kills the gangster guarding her and brings her outside. Meanwhile, Ben and his men kill the gangsters in the surrounding rooms, and exit. After the taxicabs take Marcy, Ben, and Ben's men away, Shaft calls Androzzi from a phone booth, telling him that his case has just busted open. Androzzi asks him to close it, and Shaft replies, in reference to an earlier scene, "You're gonna have to close it yourself, shitty!", then hangs up the phone and walks away laughing.
Shaft was adapted from Ernest Tidyman's novels by Tidyman and screenwriter John D. F. Black. Joel Freeman and executive producers Stirling Silliphant and Roger Lewis produced the film.[15]
The screen detective genre in the late 1960s had been dominated by the big movies, big stars. Paul Newman had established his Harper in 1966, (the character reprised 1975, in The Drowning Pool). Soon following, Frank Sinatra's Tony Rome (1967), The Detective (1968), Lady in Cement (1968) further set the quality. Industry knowledge suggested that the first of the Clint Eastwood Dirty Harry productions was also slated for a 1971 release. Gordon Parks's directorial debut of a major entertainment production was set on a course for an appreciation of comparisons. The instinctive cultural polymath knew where a coup of casting was his by necessity to play.
Although black in the source novel, Tidyman's original draft screenplay had Shaft as white. However, [Gordon] Parks cast African American actor Richard Roundtree as the eponymous hero.[16] The entire dynamic of the film, its later success, and the future of blaxploitation films were all greatly impacted by Parks' decision. This film was created less to impact black consciousness and more to simply to show a "'fun film,' which people could attend on Saturday night and see a black guy winning."[17] Nevertheless, Parks said in the documentary about his work, Half Past Autumn (2000), that he had hoped the film would inspire young African Americans by presenting them with "a hero they hadn't had before." Shaft was intentionally created to "appeal to a black urban audience, along with contiguous white youths."[18]
After production, in an effort to entice a large black audience to see the film, MGM hired UniWorld, a black advertising firm, who "popularized Shaft by using the rhetoric of black power."[15] Although this film was notable for its crossover success with both white and black audiences, UniWorld focused largely on attracting members of the African-American community. "For example, Variety reported UniWorld's advertisement description of the protagonist John Shaft as, 'A lone, black Superspade—a man of flair and flamboyance who has fun at the expense of the (white) establishment.'"[15] They also promoted "'the behind-the-camera participation of blacks,' thereby appealing to blacks who would appreciate the film as a black production or could fantasize that blacks had somehow beat the Hollywood system and taken over Metro-Goldwyn Mayer studios."[15]
Roundtree's view about being in the film
When asked at the 2014 Virginia Film Festival how it felt to be cast as Shaft, Richard Roundtree responded that he had been extremely excited about the part at the time. He had previously been cast mostly in commercials, and this role, his first in a feature film, was a big break for him.[19]
Production
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Melvin Van Peebles claimed that the success of his film Sweet Sweetback's Baadasssss Song caused Shaft to be changed from a "white movie" into a "black one".[20] In fact, filming of Shaft began in January 1971, several months before the release of Van Peebles' film, with Roundtree already confirmed in the lead role.[21][22][23] The story is set in the same month, as shown by a calendar on Shaft's office wall.
Tidyman, who is white, was an editor at The New York Times prior to becoming a novelist. He sold the movie rights to Shaft by showing the galley proofs to the studio (the novel had not yet been published). Tidyman was honored by the NAACP for his work on the Shaft movies and books.
Shaft played a crucial part in the development of African-American advancement in Hollywood. In the creation of Shaft, there was a significant African-American presence, with director Parks, editor Hugh A. Robertson, and composer Isaac Hayes playing crucial roles. On the other hand, white men controlled the other important aspects of Shaft's production. Scenarist and writer Tidyman, writer Black, producer Freeman, and executive producers Silliphant and Lewis[15] were all white men who heavily influenced the making of Shaft. In an analysis of Shaft, Stanly Corkin stated, "Further, the reception of the idea of blackness also becomes various, defined by any number of subject positions, and again, those cannot be fixed to any particular racially defined place of origin." In other words, the perception of race depends on the viewer and thus differs between individuals. Since different representations of race appeal to different people, the film's white creators fabricated its representation of blackness in order to appeal to African American and white audiences alike.[citation needed] MGM was struggling financially during the making of this film, so making a profitable film was a necessity. "Under the devious guise of providing the Black American with a new and positive image of his/her life, these films confer upon the viewer, Black or White, little more than a pretended glamour and sophistication, the empty, repetitive wasteland of ancient Hollywood traditionalism."[24]
Parks' decision to cast Roundtree rather than a white actor, for whom the role was written, instantly altered the presentation of race in the film.[16] Critics, however, believed the plot was not altered enough to accommodate the change in racial dynamics. "Mark Reid, for example, argues that Shaft is a product of the (white) studio imagination and merely a 'black-skinned replica' of the white action hero commonly found in the detective genre."[18]
One way that Shaft's blackness was showcased was through his attire. Shaft was "stylistically racialized: [He] wears clothes and affects manners that are associated with being black".[6] Shaft was known for his elegant garb, as he was frequently draped in leather coats and turtlenecks throughout the film. Although his smooth, classy look evoked a greater interest from viewers, it in no way represented fashion typical of the black community in that era.[citation needed]
Further, Shaft relies upon a group of militant black nationalists in helping him complete his mission to save Bumpy's daughter. The inclusion of a group so strongly identified with the Black Power movement was clearly an effort to appeal to black audience members.[citation needed] However, the film presented the black nationalists as a group that failed to further the black cause, raised no awareness of the black struggle, and displayed them simply as a hired team of assailants to assist Shaft on his mission.[citation needed]
The filming of Shaft partly in the neighborhood of Harlem also allowed the black viewer to have a deeper connection to this film. The writers portrayed Shaft as a man who clearly had a good relationship with this neighborhood, yet rejected it once he became wealthy, moving to the predominantly white area of Greenwich Village. Traditional black thought in this era was that African Americans who had been prosperous financially should invest in and give back to the communities from which they came. Instead, "the implication is that the wise black (Shaft) will want to sever ties with the people of Harlem and find a place among whites."[15] This point further indicates the false portrayal of race in Shaft, as a true black action hero of his time period would have been more loyal to his neighborhood.[citation needed]
The result of this inauthentic portrayal of blackness in early 1970s blaxploitation films like Shaft had an effect on black audiences viewing them. Instead of the collective nature of the Civil Rights Movement and Black Power movement in the 1960s, these films helped to usher in a decade of self-indulgence, material gain, and drug consumption.[18] "Equally important, Riley points out that the narratives about, and images of, blacks in these new films are no more than thematic templates reworked with black casts and updated stereotypes that reconfirm white expectations of blacks and serve to repress and delay the awakening of any real political consciousness."[17]
Although Shaft was a depiction of Blackness by white creators, the movie touched on several themes that reflected the ideals of the Black Power movement. Some of the actions taken by Shaft highlighted the positive aspects of this movement, while others brought out some of its less progressive facets.
A noticeable quality of Roundtree's character was his commanding presence and the control that he displayed in almost every situation he faced throughout the film. In the Black Power movement, leaders ardently fought to gain greater presence and control for their people, because even after desegregation, African Americans were still greatly excluded from the economic, political, and cultural systems engrained in white American society. Shaft was depicted as a character that had achieved a high level of personal freedom, confidence, and control in his life, which was exciting for African American viewers. At the beginning of the film, Shaft was approached by two police officers seeking information. As the officers were depending upon his information, Shaft dictated the conversation from a position of power. Spatially, he also was much taller than the officers, further boosting his position of control. Shaft's economic independence was a crucial part of his persona. Once bankrolled by Bumpy, Shaft was often seen giving money to others, which showed that he had substantial financial security. He also had a beautiful apartment located in Greenwich Village, where rent would have been expensive. The Black Power movement frequently stressed the importance of upward social mobility.
Another prominent characteristic of this movement was its strong focus on masculinity. This emphasis on the male effort to improve black life was accompanied by sexist beliefs by many leading activists. Their sexist views were felt to be a reaction to the hierarchical power structure already prevalent in society. Having been subjugated by white people for years, African-American men in turn treated women as beneath them. "Robyn Wiegman argues that the members of the Black Power Movement defined the politics of race within 'a metaphorics of phallic power,' which developed out of male activists' desire to counter cultural articulations of black male inferiority, and that this perspective is readily seen in the writings of influential figures such as Malcolm X, Huey Newton, Eldridge Cleaver, and Amiri Baraka."[18]
Shaft directly embodied this ideal of extreme black masculinity through displays of hypersexuality and misogyny. "Although Shaft lacked power in the racial sphere, by virtue of being a heterosexual male in a patriarchal system, he still maintains a semblance of power in relation to women."[18] From the very beginning of the film, Shaft's sexuality was highlighted as an important characteristic of his persona. In this scene, Shaft was parting ways with two white officers and one asks him, "Where are you going?" "To get laid", Shaft replied. Shaft was described as a legendary "sex machine", and this dominance over females was presented as an instrument of power.[18] Shaft not only has ample sexual relationships with women, but he treats them with little respect. "While he ha[d] a black girlfriend, which would satisfy the expectations of cultural nationalism, he is not above sleeping around and having random sex with attractive white women."[17] In one scene, Shaft's girlfriend told him that she loves him, and Shaft memorably responded with "Yeah, I know." Also, after a white woman slept with Shaft, she told him, "You're pretty good in the sack, but you're pretty shitty afterwards. You know that?" This statement further highlights both Shaft's sexual prowess and his misogynist actions.
Context
The fifth blaxploitation film released, Shaft is one of the most popular films of the genre.[25] Commenting on the film shortly after its release, New York Times movie critic Vincent Canby accurately predicted the wave of blaxploitation films to follow: "How audiences react, however, has a great deal to do with the kind of movies that do get made, and having watched the extraordinary receptions given to both Sweet Sweetback and Shaft I'm led to wonder if, perhaps, the existence of what seems to be a large, hungry, Black movie audience—an audience whose experiences and interests are treated mostly in token fashion by TV—might not be one of the more healthy and exciting developments on the current movie scene." Shaft greatly impacted future blaxploitation films which "crudely tried to emulate the success of Shaft and Sweetback, repeated, filled in, or exaggerated the ingredients of the Blaxploitation formula, which usually consisted of a pimp, gangster, or their baleful female counterparts, violently acting out a revenge or retribution motif against corrupt whites in the romanticized confines of the ghetto or inner city."[17]
Cultural impact
Considered as "the first Black action hero", Roundtree is credited with having an impact on the rise of African American leading actors in Hollywood projects, thanks to his successful performances in the Shaft franchise.
The way Richard Roundtree portrayed Shaft created a Black male style that was so distinct and pervasive it became known as “swag”. After Shaft the representation of Black masculinity in American films was dramatically changed. It became the norm to see black men in roles that before would have been filled by white men.[26][27][28][29]
Reception
Box office performance
The film was one of only three profitable movies that year for MGM, grossing what Time magazine called an "astonishing" $13million on a budget of $500,000.[2]
The Los Angeles Times said the film cost $1million after advertising and other costs and grossed $4.5million.[30] According to Variety by 1976 it earned $7.656million in theatrical rentals.[31]
It not only spawned several years of "blaxploitation" action films, it earned enough money to save then-struggling MGM from bankruptcy.[32]
Public reception
Shaft was extremely successful in theaters, which was a huge accomplishment for the then-struggling MGM studios. It was produced at a cost of $1.2million while earning $10.8million in its first year of distribution,[17] $7million in the U.S. alone.[16]
Critical reception
The critical reception of Shaft was mixed. In general, the film was applauded for its innovation, success, and its lasting effect on the film industry. "Because of the film's positioning securely within the parameters of industry standards, Shaft was generally applauded by the critics both black and white, as being a breakthrough production in terms of expanding black representation in commercial cinema."[17][bettersourceneeded]
Roger Ebert gave the film two-and-a-half stars out of four and wrote, "The strength of Parks's movie is his willingness to let his hero fully inhabit the private-eye genre, with all of its obligatory violence, blood, obscenity, and plot gimmicks. The weakness of 'Shaft,' I suspect, is that Parks is not very eager to inhabit that world along with his hero."[33]Gene Siskel awarded two stars out of four and wrote that the film "offers little more than a rousing opening fight and a chance to see Roundtree glower while he models some fancy leather outfits."[34]Variety wrote that the film was "directed by Gordon Parks with a subtle feel for both the grit and the humanity of the script. Excellent cast, headed by newcomer Richard Roundtree, may shock some audiences with a heavy dose of candid dialog and situation."[35]Vincent Canby of The New York Times called it "the first good Saturday night movie I've seen in years ... 'Shaft' is not a great film, but it's very entertaining."[36] In a review for The Monthly Film Bulletin, Nigel Andrews called it "in the main a highly workmanlike and enjoyable thriller."[37] Gary Arnold of The Washington Post called it "a diverting commercial thriller, inconsequential but slick and casually enjoyable."[38]
Other critics like Clayton Riley mainly found fault in the films' failure to "deal with Black life in serious terms,"[24] writing that "Sam Spade is all right for the field hands because the White folks don't want to carry that weight any more. But how seriously would 'Five Easy Pieces' have been taken with a Black pianist as the weary protagonist?"[39] Riley also harshly stated, "Mediocre is the only word to describe the work of Gordon Parks, the director of this nonsense, inept is the kindest thing to say about the performances of Richard Roundtree as John Shaft, a Black private eye on the prowl for kicks in the Big Apple underworld."[24] Parks responded to Riley's social criticisms with a letter to the editor in The New York Times, stating that "Riley seems sadly alone among blacks in this reaction. Most black critics have lauded the film for its portrayal of Shaft as a strong black hero ... I share Riley's desire to see black actors playing roles now assumed by actors such as Jack Nicholson or Dustin Hoffman, but I don't think the choice for black people is limited to either 'Five Easy Pieces' or Stepin Fetchit."[40]
Rotten Tomatoes gives the film a score of 88% based on 49 reviews from critics, with an average rating of 7.5/10. The website's "Critics Consensus" quotes the movie's opening song: "This is the man that would risk his neck for his brother, man. Can you dig it?"[41]
One of the greatest factors contributing to Shaft's wild success and lasting appeal is its memorable musical score, "a revolutionary funk/soul masterpiece".[51] Hayes auditioned for the role of Shaft but was asked to compose the musical score instead.[16] "Vulgar, shallow, and crudely done, Shaft distinguished itself mainly by having the best musical score of the year. Isaac Hayes's sensual, moody background music added to the texture of the film…"[52]
Hayes' soundtrack was recognized for its unique and catchy sound. "Instead of laying out a series of lengthy, chilled-out raps and jams, the episodic nature of a movie structure obliged him to focus on shorter instrumentals, featuring laid-back, jazz-infused riffs and solos."[51] For example, from the 'Theme from Shaft,' "The instrumental section, played by the Bar Kays and Movement, deploys pulsating bass, stuttering wah-wah guitar, Hayes's own distinctive piano playing, a descending four-note horn motif, ascending flute runs and the now famous Pearl and Dean-style blasts of brass and strings."[16] "Thirty five years on, Shaft may sound dated, but it's a sound that inspired a generation of soul musicians. Hayes' laid back vocal delivery and the gorgeous arrangements by Johnny Allen are still breathtaking, and the album remains a quintessential slice of '70s soul."[51]
The soundtrack received praise and awards. Only a few weeks after the release of the film, the soundtrack album had earned $2million and had gone platinum.[17][Note 2] "The Shaft theme became so popular that it was heard everywhere, from nightclubs to halftime at football games." (Guerrero 1993) Hayes was also nominated for two Academy Awards for Best Original Dramatic Score and for Best Original Song with the 'Theme from Shaft.'.[16] When he won for Best Original Song, it was the first time an African Americancomposer had won an Academy Award.[51] "The 45-single release of the record topped the US charts, hit number 4 in the UK and is still popular today, enjoying a new lease of life as a cellphone ring tone."[16]
Shaft initially had two sequels called Shaft's Big Score! (1972) and Shaft in Africa (1973), with "neither capturing the soul of the original", according to author Howard Hughes.[16] An additional sequel, and part remake, was released in 2000, also called Shaft, starring Samuel L. Jackson as the title character, and Roundtree appearing as his "Uncle" John Shaft.[55] The earlier sequels were followed by a short-lived 1973–1974 television series titled Shaft on CBS. Richard Roundtree was the only person to ever play John Shaft, appearing in all four films and the television series.
Ernest Tidyman wrote six Shaft novel sequels, including Goodbye, Mr Shaft and Shaft's Carnival of Killers.[16]
In February 2015, TheWrap reported that Shaft would be rebooted by New Line Cinema with John Davis producing the new film.[56] In July 2015, The Hollywood Reporter reported that Kenya Barris and Alex Barnow would be writing the script, Davis and Ira Napoliello would be producing, and Richard Brener and Samuel J. Brown would direct. The Hollywood Reporter wrote that the film "will have a comedic tone but will retain its action roots".[57] When he was asked about that characterization of the film, Davis said "It's drama, but it's going to be drama with a lot of fun moments. A lot of lighter moments."[58] In January 2017, Deadline reports that Tim Story will direct the film, a sequel, which will follows the son of John Shaft.[59] In August 2017, it was revealed that Richard Roundtree and Samuel L. Jackson would reprise their roles from the 2000 film, and Jessie T. Usher would portray J. J. Shaft, the son of Jackson's character. Roundtree's character would no longer be the uncle, but Jackson's character's father John Shaft Sr.[55] In November 2017, the film was revealed to be entitled Shaft and was released on June 14, 2019.[60]
Already in 1972, Pam Grier's character in Hit Man starred in a pornographic film she believed was a screen test for Shaft.
On The Fresh Prince of Bel-Air, Shaft is the idol of the fictional Will Smith, and several episodes[specify] make references to the film. In one episode Will has shattered his young cousin's faith in a comic character, only to be rebuked that Shaft is not real. Will clings to his beliefs, claiming Shaft was based on a real person although he lacks proof. A later episode, "The Wedding Show (Psyche!)", a fifth-season episode, had Will eloping with his fiancée to Nevada to have a Shaft-themed wedding, but Will cannot bring himself to marry in such a cheesy venue, and accuses the musician of knowing nothing about the Shaft theme song.
In The Simpsons episode 'One Fish, Two Fish, Blowfish, Blue Fish', Bart and Lisa sing the theme song. Censors objected to that scene; the producers used a clip from the Academy Awards to prove that song had already been performed on television.
In ER, in the fifth season Halloween episode 5, surgical resident Dr. Peter Benton dresses up as John Shaft and reveals to British surgical intern and previous trauma fellow Dr. Elizabeth Corday that when he was a kid he wanted to be Shaft.
It was noted by Quentin Tarantino during the 2012 Comic-Con panel that Broomhilda von Shaft and Django Freeman from his movie Django Unchained are intended as the great-great-great-great-grandparents of John Shaft, from the Shaft movie series.[61]
Isaac Lee Hayes Jr. was an American singer, songwriter, composer, and actor. He was one of the creative forces behind the Southern soul music label Stax Records, serving as both an in-house songwriter and as a session musician and record producer, teaming with his partner David Porter during the mid-1960s. Hayes and Porter were inducted into the Songwriters Hall of Fame in 2005 in recognition of writing scores of songs for themselves, the duo Sam & Dave, Carla Thomas, and others. In 2002, Hayes was inducted into the Rock and Roll Hall of Fame.
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.
Shaft is a 2000 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 reviews on Metacritic, but 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 his features 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."
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.
Shaft's Big Score! is a 1972 American blaxploitation action-crime film starring Richard Roundtree as private detective John Shaft. 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. Composer Isaac Hayes turned down an offer to score the film, so Parks, also a musician, composed and performed the score himself.
I'm Gonna Git You Sucka is a 1988 American blaxploitation parody film written, directed by and starring Keenen Ivory Wayans in his directorial debut. Featured in the film are several noteworthy African-American actors who were part of the genre of blaxploitation: Jim Brown, Bernie Casey, Antonio Fargas and Isaac Hayes. It co-stars John Vernon, Kadeem Hardison, Ja'net Dubois, John Witherspoon, Damon Wayans, Clarence Williams III and Chris Rock, and acts as the film debuts of comedian Robin Harris and brothers Shawn and Marlon Wayans.
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).
BaadAsssss Cinema is a 2002 TV documentary film directed by Isaac Julien. Julien looks at the Blaxploitation era of the 1970s in this hour-long documentary.
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.
Vonetta Lawrence McGee was an American actress. She debuted in the Spaghetti Western The Great Silence and went on to appear in blaxploitation films such as Hammer, Melinda, Blacula, Shaft in Africa, Detroit 9000, and 1974's Thomasine & Bushrod alongside her then-boyfriend Max Julien. In 1975, she was Clint Eastwood's co-star in The Eiger Sanction. She was a regular on the 1987 Universal Television situation comedy Bustin' Loose, starring as Mimi Shaw for its only season (1987–88).
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 black artists to reclaim power over their image, and institutions like UCLA to provide financial assistance for students of color 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.
Black Dynamite is a 2009 American blaxploitation action comedy film starring Michael Jai White, Tommy Davidson, and Salli Richardson. The film was directed by Scott Sanders and co-written by White, Sanders, and Byron Minns, who also co-stars.
Imaging Blackness is the complex concept of expressing, recognizing, or assigning specific sets of ideas or values used in the depiction of blacks. This depiction can be shown through various forms of media: film, television, literature. More specifically in film, the portrayal of blacks has been imaged and captured throughout history.
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.
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.
African American cinema is loosely classified as films made by, for, or about Black Americans. Historically, African American films have been made with African-American casts and marketed to African-American audiences. The production team and director were sometimes also African American. More recently, Black films featuring multicultural casts aimed at multicultural audiences have also included American Blackness as an essential aspect of the storyline.
↑ Clark, Randall (2014) [1995]. At a Theater or Drive-In Near You: The History, Culture, and Politics of the American Exploitation Film. New York: Routledge. pp.152–153. ISBN978-0-415-83865-8.
↑ Stoddard, Brad L. (2013). "Shaft". In Cortés, Carlos E. (ed.). Multicultural America: A Multimedia Encyclopedia. Los Angeles: Sage Publications. pp.1924–1925. ISBN978-1-4522-1683-6.
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1 2 3 4 5 6 7 8 9 Hughes, Howard (2006). Crime Wave: The Filmgoers' Guide to Great Crime Movies. London: I.B. Tauris.
1 2 3 4 5 6 7 Guerrero, Ed (1993). Framing Blackness: The African American Image in Film (Culture and The Moving Image). Philadelphia: Temple University Press.
1 2 3 4 5 6 Henry, Matthew (Spring 2004). "He Is a "Bad Mother*$%@!#": Shaft and Contemporary Black Masculinity". African American Review. 38 (1): 119–126. doi:10.2307/1512235. JSTOR1512235.
↑ Tweedle, Sam, "I'm Just Talkin' About Shaft (And We Can Dig It)," Confessions of a Pop Culture Addict, Internet website , accessed August 20, 2014.
↑ Dallos, Robert E; Delugach, Al. (Oct 24, 1971). "MGM to Specialize and Diversify, Too: Aubrey Sees Big Year, Details 'Select' Movies, Resort Plans MGM: Leo Seeks Greener Fields". Los Angeles Times. p.h1.
↑ "All-time Film Rental Champs". Variety. 7 January 1976. p.44.
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