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New York City police detective John Shaft (nephew of the original 1970s detective) goes on a personal mission to make sure the son of a real estate tycoon is brought to justice after a racially-motivated murder.
Director:
John Singleton
Stars:
Samuel L. Jackson,
Vanessa Williams,
Christian Bale
After saving a Black Panther from some racist cops, a black male prostitute goes on the run from "the man" with the help of the ghetto community and some disillusioned Hells Angels.
Director:
Melvin Van Peebles
Stars:
Melvin Van Peebles,
Simon Chuckster,
Hubert Scales
Based on the movies of the same name, John Shaft is a two-fisted black private eye along the lines of Mike Hammer and Phillip Marlowe. Each week presents a different case and a different ... See full summary »
Stars:
Richard Roundtree,
Eddie Barth,
Judie Stein
Truck is a bounty hunter who gets a job to track down a guy named Gator. When he and his partner find him, a chase ensues and Gator is killed. This makes Gator's woman, Dorinda, very angry ... See full summary »
Goldie returns from five years at the state pen and winds up king of the pimping game. Trouble comes in the form of two corrupt white cops and a crime lord who wants him to return to the ... See full summary »
John Shaft is the ultimate in suave black detectives. He first finds himself up against Bumpy, the leader of the Black crime mob, then against Black nationals, and finally working with both against the White Mafia who are trying to blackmail Bumpy by kidnapping his daughter. Written by
John Vogel <jlvogel@comcast.net>
Ron O'Neal auditioned for the role of John Shaft. He was turned down because the producers felt his complexion was too light. See more »
Goofs
When Shaft gets hit with the machine gun, one of the wounds is to his head - you can clearly see blood there. Yet after the doctor works on him and gets him patched up, all signs of the head wound have vanished - there's no scar or patch there. See more »
Quotes
[first lines]
John Shaft:
[holding up his middle finger to a cab driver who is honking his horn at him]
Up yours! Get out the way!
See more »
This is not a great film, but it is one of the most important films in American history.
The film suffers primarily because Parks isn't sure whether he wants to direct a 'relevant' black crime drama - for which he doesn't really have the money - or a film of the genre that became infamous as "blaxploitation", which had at that time not yet achieved definition. In other words, Parks is breaking new ground, and he wasn't sure exactly what ground he is breaking. So the film tends to amble, and sometimes even stagger, as it tries to define a goal for itself.
Nonetheless, this is the first film where a strong black man in a truly heroic role - without the props of white liberal social blather, and without being borderline criminal - is portrayed without excuses or apologies. Shaft is truly a hero of his time, part Sam Spade (& no jokes here, please), part James Bond - and all man - intelligent, fast to act, direct and always true to himself - he's nobody's "boy".
Although these qualities are in the script, the communication of the message depends entirely on Richard Roundtree - one of the truly great action actors of Hollywood history - hey, I'm a white boy, and I still want to be this John Shaft! he's that cool. The marginalization of this savvy and witty actor, due to the racism of Hollywood, is a real crime.
Well, for now, never mind; his performance alone carries this film, and makes it a treasure; and no matter how badly Hollywood marginalizes black action cinema, Roundtree's performance will continue to stand tall, for many generations to come.
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This is not a great film, but it is one of the most important films in American history.
The film suffers primarily because Parks isn't sure whether he wants to direct a 'relevant' black crime drama - for which he doesn't really have the money - or a film of the genre that became infamous as "blaxploitation", which had at that time not yet achieved definition. In other words, Parks is breaking new ground, and he wasn't sure exactly what ground he is breaking. So the film tends to amble, and sometimes even stagger, as it tries to define a goal for itself.
Nonetheless, this is the first film where a strong black man in a truly heroic role - without the props of white liberal social blather, and without being borderline criminal - is portrayed without excuses or apologies. Shaft is truly a hero of his time, part Sam Spade (& no jokes here, please), part James Bond - and all man - intelligent, fast to act, direct and always true to himself - he's nobody's "boy".
Although these qualities are in the script, the communication of the message depends entirely on Richard Roundtree - one of the truly great action actors of Hollywood history - hey, I'm a white boy, and I still want to be this John Shaft! he's that cool. The marginalization of this savvy and witty actor, due to the racism of Hollywood, is a real crime.
Well, for now, never mind; his performance alone carries this film, and makes it a treasure; and no matter how badly Hollywood marginalizes black action cinema, Roundtree's performance will continue to stand tall, for many generations to come.