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 »
When the express elevators in the Millennium Building, one of New York's most famous landmarks, start to malfunction and behave in erratic ways, elevator mechanic Mark Newman is sent out to... 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 »
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 »
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 <firstname.lastname@example.org>
Much of the action in the movie centers around 125th Street in Harlem. Shaft's apartment (exterior only) was located in Manhattan's Greenwich Village at 55 Jane Street, across the street from the (real) "No Name Bar" at 621 Hudson Street. The former bar was ultimately transformed into deli. See more »
During Bumpy's visit to Shaft's office, the hat Bumpy is wearing changes. As Bumpy faces Shaft, the brim is turned down all the way around the hat. There is also a small gold buckle seen on the leather hat band. When the camera moves to Bumpy's left, to include Shaft, the hat's brim is turned up in back, and the buckle is missing. See more »
[holding up his middle finger to a cab driver who is honking his horn at him]
Up yours! Get out the way!
See more »
I can. Because this is not only the greatest black-exploitation film ever, but also one of the best films of the 70's era. Richard Roundtree brings out Ernest Tidyman's John Shaft like no one else can (not even Samuel L. Jackson in the new shaft can compete) as the ultimate bad-a** who must investigate a kidnapping. One of the most memorable films ever made, especially by the Oscar winning song (and nominated score) by Isaac Hayes, which made his breakthrough as his funk thing grew. A+
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