ACROSS 110th STREET is remembered more nowadays for it's title track which was used in Tarantino's Blaxploitation homage JACKIE BROWN in 1997 (though the version used in the eponymous film is markedly different).This is somewhat a disservice to the original as it is in many ways a top notch example of it's kind (but not without flaws).
Three black petty thieves (two disguised as cops) stumble across a mafia/Harlem gang deal worth hundreds of thousands of dollars,though the opportunist raid goes disastrously wrong,with it's main protagonist Jim Harris (Paul Benjamin) mowing down five gangsters and one policeman,with another later dying from his injuries.As well as being pursued by the mob,the police are also hot on the raiders' trail,with a veteran Italian-American Captain (Anthony Quinn) at odds with a young, articulate,liberal,well educated black Lieutenant (Yaphet Kotto).
Scarcely anyone comes off sympathetically in ACROSS 110th STREET.Harlem itself is shown in its grittiest,dirtiest,most squalid glory,all seedy apartment blocks,junk infested alleys,seedy nightclubs and bars,and dreary,ugly functional business and police buildings,with it's cynical,brutalised,racist,downtrodden,often sadistic characters on opposite sides of the law.Underrated director Barry Shear brilliantly captures such an unrelenting milieu in often cramped,claustrophobic surroundings,with hand held cameras and what seems merely natural light. It's violence is never glamorised,being savage and chaotic with horrific consequences for it's victims with zero hopes for redemption or happiness.The performances are uniformly good,with a decent script providing insight for deeper than usual characterisations in films of this sort,with Anthony Franciosa, Kotto and even Quinn (thankfully avoiding his Zorba-style tendencies here) giving honest,realistic portrayals.As the small-time crook turned mass killer,Paul Benjamin incredibly manages to make such a character as disreputable as this oddly sympathetic (Kotto is just about the only other character on show with any redeeming features), with a powerful speech which all too readily describes the plight of many uneducated,disabled blacks in areas like this in the US.And Antonio Fargas is a long way from the wisecracking,jive-talking,affable stool pigeon Huggy Bear that he would memorably portray in STARSKY AND HUTCH a few years later on TV,as one of the doomed raiders who is sadistically tortured and murdered by the vicious psychopathic hit-man Franciosa.
For all it's praiseworthy qualities though,ACROSS 100th STREET is a film that is to be respected and appreciated,but not liked.It's tone is admirably realistic (along with authentic Harlem locations),but utterly humourless and often repellent because of this.The relentless tension from virtually the first shot is superbly marshaled by Shear, though this often sits uneasily with the equally uncompromising atmosphere of despair and pessimism,which reduces the entertainment value and a feeling of disappointment by the film's conclusion,which predictably ends on a downbeat note,though it thankfully never lurches into outright melodrama.
Nevertheless despite it's flaws,ACROSS 110th STREET is an undervalued urban thriller of the early 70's which deserves reappraisal,and is much more than mere Blaxsploitation fodder,being more thoughtful,socially aware and better written than most subjects of said genre,in the midst of it's often harrowing and unrelenting violence.
RATING:7 and a half out of 10.
Three black petty thieves (two disguised as cops) stumble across a mafia/Harlem gang deal worth hundreds of thousands of dollars,though the opportunist raid goes disastrously wrong,with it's main protagonist Jim Harris (Paul Benjamin) mowing down five gangsters and one policeman,with another later dying from his injuries.As well as being pursued by the mob,the police are also hot on the raiders' trail,with a veteran Italian-American Captain (Anthony Quinn) at odds with a young, articulate,liberal,well educated black Lieutenant (Yaphet Kotto).
Scarcely anyone comes off sympathetically in ACROSS 110th STREET.Harlem itself is shown in its grittiest,dirtiest,most squalid glory,all seedy apartment blocks,junk infested alleys,seedy nightclubs and bars,and dreary,ugly functional business and police buildings,with it's cynical,brutalised,racist,downtrodden,often sadistic characters on opposite sides of the law.Underrated director Barry Shear brilliantly captures such an unrelenting milieu in often cramped,claustrophobic surroundings,with hand held cameras and what seems merely natural light. It's violence is never glamorised,being savage and chaotic with horrific consequences for it's victims with zero hopes for redemption or happiness.The performances are uniformly good,with a decent script providing insight for deeper than usual characterisations in films of this sort,with Anthony Franciosa, Kotto and even Quinn (thankfully avoiding his Zorba-style tendencies here) giving honest,realistic portrayals.As the small-time crook turned mass killer,Paul Benjamin incredibly manages to make such a character as disreputable as this oddly sympathetic (Kotto is just about the only other character on show with any redeeming features), with a powerful speech which all too readily describes the plight of many uneducated,disabled blacks in areas like this in the US.And Antonio Fargas is a long way from the wisecracking,jive-talking,affable stool pigeon Huggy Bear that he would memorably portray in STARSKY AND HUTCH a few years later on TV,as one of the doomed raiders who is sadistically tortured and murdered by the vicious psychopathic hit-man Franciosa.
For all it's praiseworthy qualities though,ACROSS 100th STREET is a film that is to be respected and appreciated,but not liked.It's tone is admirably realistic (along with authentic Harlem locations),but utterly humourless and often repellent because of this.The relentless tension from virtually the first shot is superbly marshaled by Shear, though this often sits uneasily with the equally uncompromising atmosphere of despair and pessimism,which reduces the entertainment value and a feeling of disappointment by the film's conclusion,which predictably ends on a downbeat note,though it thankfully never lurches into outright melodrama.
Nevertheless despite it's flaws,ACROSS 110th STREET is an undervalued urban thriller of the early 70's which deserves reappraisal,and is much more than mere Blaxsploitation fodder,being more thoughtful,socially aware and better written than most subjects of said genre,in the midst of it's often harrowing and unrelenting violence.
RATING:7 and a half out of 10.