IMDb > Super Fly (1972)
Super Fly
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Super Fly (1972) More at IMDbPro »

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Overview

User Rating:
6.5/10   3,698 votes »
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Director:
Writer:
Phillip Fenty (written by)
Contact:
View company contact information for Super Fly on IMDbPro.
Release Date:
4 August 1972 (USA) See more »
Genre:
Tagline:
Never a dude like this one! He's got a plan to stick it to The Man! See more »
Plot:
Super Fly is a cocaine dealer who begins to realize that his life will soon end with either prison or his death... See more » | Add synopsis »
Plot Keywords:
Awards:
1 nomination See more »
User Reviews:
Seventies classic that only happens to be blaxploitation See more (57 total) »

Cast

  (in credits order) (complete, awaiting verification)

Ron O'Neal ... Priest
Carl Lee ... Eddie

Sheila Frazier ... Georgia (as Shiela Frazier)
Julius Harris ... Scatter
Charles McGregor ... Fat Freddie (as Charles MacGregor)
Nate Adams ... Dealer
Polly Niles ... Cynthia
Yvonne Delaine ... Mrs. Freddie
Henry Shapiro ... Robbery Victim
K.C. ... Pimp
James G. Richardson ... Junkie (as Jim Richardson)
Make Bray ... Junkie
Al Kiggins ... Police
Bob Bonds ... Police
Fred Rolaf ... Police

Alex Stevens ... Police
Harry Manson ... Police
Floyd Levine ... Police
Sig Shore ... Deputy Commissioner (as Mike Richards)
Chris Arnett ... Coke Buyer
Cecil Alonzo ... Militant
Gene Chambers ... Militant
John Williams ... Militant
E. Preston Reddick ... Karate Instructor
Lorraine Horn ... Mother In Apartment
Nick Sands ... Contracted Man
Bob Richards ... Contracted Man
Nita Michaels ... Hooker
Vicki McLaughlin ... Hooker

Curtis Mayfield ... Himself (The Curtis Mayfield Experience)
Henry Gibson ... Himself (The Curtis Mayfield Experience)
Lucky Scott ... Himself (The Curtis Mayfield Experience)
Craig McMullen ... Himself (The Curtis Mayfield Experience)
Tyrone McCullough ... Himself (The Curtis Mayfield Experience)

Directed by
Gordon Parks Jr. 
 
Writing credits
Phillip Fenty (written by)

Produced by
Sig Shore .... producer
Irving Stimler .... associate producer
 
Original Music by
Curtis Mayfield 
 
Cinematography by
James Signorelli (director of photography)
 
Film Editing by
Bob Brady 
 
Costume Design by
Nate Adams 
 
Makeup Department
James Farabee .... makeup artist
Walter Fountain .... hair stylist (as Walter Fountaine)
Webster McKnight .... hair stylist
 
Production Management
Cecil Alonzo .... assistant production manager
Nolan Constantine .... production manager
 
Second Unit Director or Assistant Director
Candace Allen .... second assistant director
Kurt Baker .... assistant director
 
Art Department
Tom Jung .... poster designer (uncredited)
 
Sound Department
Jerry Baker .... boom operator
Bob Brady .... sound effects editor
Harry Lapham .... sound
 
Stunts
Erik Cord .... stunt coordinator (uncredited)
Harry Madsen .... stunt performer (uncredited)
Alex Stevens .... stunts (uncredited)
Jesse Wayne .... stunts (uncredited)
 
Camera and Electrical Department
Alex Fernbach .... chief grip
Michael Lesser .... gaffer
Gordon Parks Jr. .... photographer: still sequence
Santiago Perales .... lighting
Minervino Rojas .... camera operator
Robert D. Shulman .... chief electrician (as Bob Shulman)
 
Editorial Department
Fredericka Taylor .... apprentice editor
 
Music Department
Bob Brady .... music editor
Curtis Mayfield .... music arranger
Curtis Mayfield .... orchestrator
Johnny Pate .... conductor
 
Other crew
David Parks .... unit publicist
 

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Additional Details

Also Known As:
Runtime:
93 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Canada:14A | Finland:K-16 | Iceland:16 | Netherlands:18 (orginal rating) | New Zealand:R18 | Norway:16 | Sweden:15 | UK:X (original rating) | UK:18 (video rating) (1988) | USA:R

Did You Know?

Trivia:
Star Ron O'Neal didn't like the cocaine montage. In an E! True Hollywood Story interview, he said it so glorified drug use, the montage was akin to a "commercial for cocaine."See more »
Goofs:
Crew or equipment visible: During the opening foot chase, the camera cord becomes visible several times at the bottom of the screen.See more »
Quotes:
Youngblood Priest:You better take real good care of me. Nothing, nothing better happen to one hair on my gorgeous head. Can you dig it?See more »
Movie Connections:
Referenced in "Skins: Tony (#1.1)" (2007)See more »
Soundtrack:
No Thing On Me (Cocaine Song)See more »

FAQ

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5 out of 6 people found the following review useful.
Seventies classic that only happens to be blaxploitation, 30 October 2008
Author: chaos-rampant from Greece

Ron Earl is the Priest, independent Harlem coke dealer who is out for the big deal, one last push before he's out of there and out of the street. He also happens to be the protagonist and the one character we're called to empathize with and if that pose a problem for some, it's a directorial choice I applaud even only for its disregard of PC norm. In a genre populated for the most part by cops, private dicks and other manifestations of the law, having a drug dealer kicking ass and not in the name of some higher value, without him renouncing his past or seeing the error of his ways and becoming goodie two-shoes in a last minute, flimsy attempt to redeem the movie in the eyes of moral censors, without being heavy-handed or trashy is certainly admirable. Those that enjoy taking the moral high ground against the movie they're watching will find plenty of ground here to do so. I don't. I might oppose a movie on a political level but only when it tries to make a political statement out of it and Superfly sure as hell doesn't, at least not beyond what genre conventions might dictate (i.e. whitey is bad). The Priest however renounces the hypocrisy of "Black Nation" scumballs going around asking him for money just as much as he rails against the "redneck faggot" captain who doubletimes as the local drug lord.

So if Super Fly is so good, it's because The Priest's desire comes across so transparent, strong and clear. Get off the street. A home, a vine, his woman, that's all he wants out of life now, despite (or perhaps because of) him being a societal leech feeding off people's addiction. Dealing drugs is just a job for him, a means to an end. His partner Eddie rambles on at one point early in the movie about how "it's all whitey left them to do" on which I call shenanigans; that way of thinking is never further expounded upon in relation to the Priest's goal and Eddie in the end proves himself to be a backstabbing, greedy son of a bitch. I think the best way to sketch out The Priest's character is by using Lee Marvin's words when he was asked what it felt like to have played so many bad guys in his life: "My characters weren't bad. They were just trying to get through the day". That's pretty much the wavelength Super Fly channels its protagonist through. Neither condemnation, nor approval, it's just the way it is.

Super Fly is so damn good however, not just because its drug dealer protagonist comes across as genuine and sympathetic, but more so because it never allows itself to be drawn to the sillier end of blaxploitation. No 'mack daddy' sleazy pimpin' fabulousness here, the movie is constantly rooted in reality, taking itself serious before asking the viewer to do the same, but also groovy and funky as only blaxploitation flicks can be. A big part of that distinct seventies charm is due to Curtis Mayfield's stupendous score, playing over most of the film, but also the seedy back-alleys and rundown neighborhoods of then contemporary Harlem, the grime almost reaching across the screen.

Grade A blaxpoitation then, but also a smokin' hot crime flick with characterization that is better than most, good pace, all-around good acting, booty-shaking' music, afros and a few punches thrown in for good measure, Super Fly is among the best of its kind. Strongly recommended.

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Super Fly: the book urgeking
Priest vs. Tony Montana jbbb3
So Sexy, So Fine MoreLord
Why Wasn't There an Oscar Nomination for Best Score? puffball97
bathtub scene gemini30318
Use of the word N****r Lootrock
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