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 »
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
Super Fly is a cocaine dealer who begins to realize that his life will soon end with either prison or his death. He decides to build an escape from the life by making his biggest deal yet, converting the coke to cash and running off to start a new life. The problem is that the Mob does not have a retirement plan and will give him a choice of staying and selling for them or dying if they find out his intentions.Written by
John Vogel <jvogel@dgs. dgsys.com>
Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. See more »
Goofs
The foot chase at the beginning seems to be shot out of order. The junkie either has his hat on or he's holding it. See more »
Quotes
Youngblood Priest:
[while Reardon's pointing a gun at him]
Kill me, Reardon! Kill me like you did Scatter, and you are one dead pig!
Deputy Commissioner:
What did you call me?
Youngblood Priest:
Deputy Commission Reardon. Yeah, that's right. I know your name, I know *all* about you: your wife, that big-legged daughter of yours, and even that faggot son. Do it! Yeah, go ahead. I'm to the point I ain't afraid to die. But you kill me, and you and your whole f*ckin' family die.
Deputy Commissioner:
That's bullshit!
Youngblood Priest:
I ain't bullshittin' you, captain. I took a $100,000 contract ...
See more »
Forget the blaxpop label, SUPER FLY is a minor classic that made a fortune for Warner Bros. Studios in 1972-73. This slick urban romp appealed to all audiences, the evidence was lofty VHS sales (why this hasn't hit DVD I don't know) and a soundtrack that was instant hall of fame material.
Ron O'Neal as Priest, is only different from some 80's Wall Street green mailers, by the cut of his clothes and the curb feelers on his Eldorado Custom (the car used in the film actually belonged to one of NYC's bigger pimps). Like the yuppie trash in WALL STREET, Priest is also looking for one big score so he can quit the business: in this case, pushing cocaine.
"I know it's a rotten game, " opines Eddie, Priest's friend and business partner. "But it's the only one the man left us to play." Social ills commentary aside, SUPER FLY never gets heavy handed, preachy or cheap. It moves and plays out nicely. The acting is credible, both lead and support. The late Carl Lee is a powerhouse as Eddie and when he tells Priest, "{i}f it wasn't for you I'd be OD or in prison," you feel for his certain impending condemnation. O'Neal, a classics trained actor no less, never camps it up despite the (now laughable) wardrobe. He makes Priest likeable, even though self identification with the dope man is limited.
The legacy of the film is the Curtis Mayfield soundtrack. There are not enough adjectives to describe it's brilliance. Mayfield was a genius, his work after SUPER FLY was never equaled simply because it couldn't be. To date, every track plays as powerfully as it did its first time. The true test of time honor.
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Forget the blaxpop label, SUPER FLY is a minor classic that made a fortune for Warner Bros. Studios in 1972-73. This slick urban romp appealed to all audiences, the evidence was lofty VHS sales (why this hasn't hit DVD I don't know) and a soundtrack that was instant hall of fame material.
Ron O'Neal as Priest, is only different from some 80's Wall Street green mailers, by the cut of his clothes and the curb feelers on his Eldorado Custom (the car used in the film actually belonged to one of NYC's bigger pimps). Like the yuppie trash in WALL STREET, Priest is also looking for one big score so he can quit the business: in this case, pushing cocaine.
"I know it's a rotten game, " opines Eddie, Priest's friend and business partner. "But it's the only one the man left us to play." Social ills commentary aside, SUPER FLY never gets heavy handed, preachy or cheap. It moves and plays out nicely. The acting is credible, both lead and support. The late Carl Lee is a powerhouse as Eddie and when he tells Priest, "{i}f it wasn't for you I'd be OD or in prison," you feel for his certain impending condemnation. O'Neal, a classics trained actor no less, never camps it up despite the (now laughable) wardrobe. He makes Priest likeable, even though self identification with the dope man is limited.
The legacy of the film is the Curtis Mayfield soundtrack. There are not enough adjectives to describe it's brilliance. Mayfield was a genius, his work after SUPER FLY was never equaled simply because it couldn't be. To date, every track plays as powerfully as it did its first time. The true test of time honor.