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...urban movie houses and treating ethnic audiences to fantasy visions previously only colored white. Machismo, even in its white variety, is a hideous subject for glorification. But the black supermen in these movies roister about the contemporary cityscape like hyper Sam Spades without the Hammett moral sense. Sweetback or Shaft are totally ruthless people, oppressed by whites but equally disgusted by the lack of effectiveness of black community and cultural leaders. They are agents who wish to be totally free, and are concerned solely with their personal vendettas against the rest of the world. Until Super Fly, the hardened Chester...

Author: By Michael Sragow, | Title: Super Fly | 8/22/1972 | See Source »

GORDON PARKS JR. has directed from a Philip Henty script. Parks, who did some special photography for Burn and The Godfather, and who is the son of the Life photographer and creator of Shaft, far surpasses his father in filmmaking vigor in this, his first feature. It's all pretty crude, but he keeps things rolling, manages to cool off more obvious hot elements while keeping the cold liquid, and with crisp photography brings us closer into Harlem's high and low life than any of the bigger-budgeted current black flicks. (Not to mention that the effect he gets...

Author: By Michael Sragow, | Title: Super Fly | 8/22/1972 | See Source »

...world for all of us." During performances with the Hampton Jazz Inner Circle, the composer passes out singles of his new ditty while the boys play Hampton specialties. What happens when Democrats disapprove of his offering? "Oh," says Hampton's manager, "for them we play the theme from Shaft...

Author: /time Magazine | Title: People, Aug. 21, 1972 | 8/21/1972 | See Source »

...Shaft's Big Score--Gary Theater. 10 a.m.-10 p.m. every two hours...

Author: NO WRITER ATTRIBUTED | Title: the screen | 7/25/1972 | See Source »

COME BACK, CHARLESTON BLUE features two of Shaft's soul brothers, a pair of Harlem plainclothesmen named Grave Digger Jones (Godfrey Cambridge) and Coffin Ed Johnson (Raymond St. Jacques) who made their movie debut in the casual, sometimes chaotic comedy thriller Cotton Comes to Harlem (1969). In Charleston Blue, Director Mark Warren shows a boisterous if somewhat blatant sense of fun as well as a knack for dealing with mayhem. Charleston Blue is like slaphappy and violent vaudeville. Under the guise of cleaning up the ghetto, a flashy fashion photographer called Painter is rerouting all the Mafia...

Author: /time Magazine | Title: Cinema: Seconds | 7/24/1972 | See Source »

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