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| 181. Shaft Director: Gordon Parks | |
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Reviews (39)
So on with the DVD. The film itself is nicely letterboxed (I think for the first time), and while it's not made from the greatest print (there are a couple scratches), it's a perfectly acceptable presentation. Extras include trailers for all three Shaft flicks . This is great--I wish Warner had done the same with their "Dirty Harry" DVD. (They did with the VHS version.) There's also a 1971-produced short "Making of" film and the option to view the movie in French (a surreal experience, to be sure.) The cast and crew bios, however, are pretty meager, offering only a relatively complete portrait of Richard Roundtree. Where's Moses Gunn? Or Gordon Parks? The "Awards" option is pretty worthless as well, showing that the movie won the Oscar for "Best Original Song." Oh, yes, and there's no commentary track with Director Parks as is described on the Amazon site. Forgivably, it's not mentioned on the DVD box, so this is probably just something that didn't pan out at the last minute. It's still lots of fun, but not what it could have been.
Shaft is a private investigator who is hired by a local crime boss to find his beautiful, vulnerable daughter, who has been kidnapped by a rival ring from New Jersey. This is no small potatoes: a major drug war could break out between Jersey and Harlem if the problem isn't resolved soon. By the way, someone goes crashing through Shaft's very high office window in his presence, so Shaft has to bargain and barter with his only sympathetic contact in the NYPD to keep from being arrested on a murder charge. Shaft has to work on his own, under cover, without most of the advantages the police enjoy. The performances in this film are wonderful. It shows how shamefully Hollywood has ignored black talent that actors the caliber of Moses Gunn didn't get steady work, and the situation is only marginally better today. The talent brings conviction to a gangster plot line that is really just an update of 1930s material, minimizing its formulaic quality and keeping it fresh. There are also sharp points made about the realities of urban black life. Example: A taxicab pauses, then zooms by well-dressed Shaft, only to stop 50 feet up the street to pick up a similarly dressed white guy. It's stuff like this that raises "Shaft" well above the movie-of-the-week level that infects so many routine and direct-to-video films. I think that time may have actually improved "Shaft." The violence is just violence. Shooting a gun is just that, not an invitation to buckets of blood. A car crash is a car crash, not a fireball. One thing the writers or producers seem a little conflicted about is the level of swearing: a character will say "[bad]" in one sentence, use the s-word in the next, then revert to "[bad]" Ditto those well-worn terms about fornication. Well, 1971 was a confusing time. For a generation raised on Joe Fridays, Shaft is quite an interesting character, a handsome leather-clad James Bond without all the high-tech gadgetry. He has a nice apartment and a loving wife, but he also keeps a sleek, tasteful bachelor pad that Hugh Hefner might envy. He must be quite the successful P.I.! I suppose this bit of fantasy was meant to serve as relief to the gritty urban drama played out on the streets. At any rate, I didn't mind it. If you're sitting on the fence about this movie, buy the tape; it's quite cheap.
Shaft is a great 70's urban classic. The film is beautifully photographed and staged. The atmospheric camera work captures the streets of New York, always keeping the look of the film harsh and cold. The color scheme is typical 70's muted with acidic contrasts, but at the same time uses a number of blue tinges, especially in the outdoors, to suggest the cold environment the people are facing. The DVD is presented in the film's original 1.85:1 theatrical aspect ratio as well as an open matte (fullscreen) transfer that adds some picture information at the top and the bottom of the screen. The transfers look pretty darned good for a 1971 flick. Audio is presented in the film's original monaural track and is fairly weak, though acceptable. The DVD features includes a bonus documentary "Filming Shaft on Location", three trailers and cast biographies. You gotta love Shaft & Richard Rountree. A great flick and a great DVD.
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| 182. Don King - Only In America Director: John Herzfeld | |
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Reviews (7)
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| 183. Thelonious Monk - American Composer | |
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Reviews (4)
Classical musicians can expect all of their performances to be seen and heard, jazz on video should be treated the same. Particularily as watching Monk play live adds a great deal to appreciating his music, his timing, improvisational skills and generally pushing it to the edge !
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| 184. In Your Face Director: Frank Packard | |
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Reviews (1)
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| 185. One Down Two to Go Director: Fred Williamson | |
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Reviews (8)
To see Richard Roundtree, Fred Williamson, Jim Brown..and a big blast from the past..Jim Kelly. I though Jim Kelly was dead. Anyway, they looked very good together. I enjoyed seeing my heart throbs of 70's in a film together. All of them..still sexy as ever.
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| 186. Diamond Shaft (AKA Diamonds) Director: Menahem Golan | |
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Reviews (4)
In one of the scenes Ninjas are on on top of huge boulders shooting arrows at Shaft. Shaft manages to catch one of the arrows and throws it back at the Ninja, fatally killing him. Can you believe that? The Batman television series has better actions scenes. I've seen better acting in Fast Actin' Tinactin! Do yourself a favor and buy a Dirty Harry movie in lieu of Diamond Shaft.
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| 187. Super Soul Brother Director: Rene Martinez Jr. | |
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Reviews (5)
Unlike Rudy, Wildman Steve isn't even funny. He's the black version of Joe DeRita, the least Stooge ever. Steve whines and blubbers through this film. No one else seems to do much of anything. The acting is awful and most of the characters are totally repulsive, especially Dr. Dippy and the crook who looks like Chuck Berry after a night of hard drinking. This is truly one of the worst films ever made, and its not even enjoyable in an Ed Wood way.
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| 188. Eyes on the Prize:Mississippi America Director: Henry Hampton | |
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| 189. The Watermelon Woman Director: Cheryl Dunye | |
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Reviews (11)
This film can be viewed on several levels... as a (lesbian) love story... a romantic comedy, if you will. It can be viewed as a story about African American women finding their place in an urban society. Or it can be viewed as a study of the creative process. The love story bored me (luckily both Cheryl Dunye and Guineviere Turner are both really hot!)... but the exploration and struggle of the artistic journeys of Cheryl was very interesting. Any film-maker, artist, photographer, etc. would enjoy this movie... and it should not be dismissed as another silly, unrealistic lesbian love story.
The minute The Watermelon Woman played on the screen, I felt that can't-part-with-this kind of instant affection toward it. It was funny, honest, and cool. I collect DVDs and this one surely made the top on my list for future purchase. I'm almost grateful to the school I attend that its library has it in its collection. I had an absolutely good time watching it.
Unlike other films dealing with gay characters or themes, WATERMELON WOMAN is not pretentious or preachy. Instead, it tells a simple story which touches upon universal themes such as searching for one's place in the world. Dunye, while not a polished actress, is nonetheless appealing in her lead role. Her character possesses a youthful charm that makes you really care about her journey. The other members of the cast are also appealing. Adventurous filmgoers tired of formulaic plots will find much to savor in this film. Aspiring filmmakers can also look at the film as a guide in how to create a compelling story on a modest budget. Being one of the few people to actually see the film during it's brief theatrical run, I was happy to learn that I could see it again in the convenience of my own home. Now a much wider audience can enjoy this special film. Check it out. On another note, her next film, STRANGER INSIDE, is slated to premiere this year on HBO. Hopefully, that film will live up to, if not surpass the promise of Dunye's earlier film. Only time will tell.
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| 190. The Black Godfather Director: John Evans | |
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Reviews (3)
Leroy Jackson was one of the first black toughguy characters. Leroy does things his own way. It's his way or the highway. He's also loved by the ladies. He has a way with street hookers. They don't even make him pay!!! Anyway, the script is great and the acting is top-notch. Everyone's trying to keep Leroy down, but he refuses to stay down. My favorite scene is where Leroy is jaywalking and a driver honks at him to get out of the way. An incensed Leroy yells "Kiss my black ***!" Where did the writers come up with such dialogue?!! Buy the Black Godfather. It's a classic! ... Read more | |
| 191. Crooklyn Director: Spike Lee | |
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Amazon.com essential video Reviews (31)
Much love SPIKE for bringing this time period in the lives of African Americans to the big screen for those to enjoy!
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| 192. Eve's Bayou Director: Kasi Lemmons | |
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Amazon.com essential video Reviews (34)
With a stellar cast including Sam Jackson, the incomparable Debbie Morgan, Lynn Whitfield, Diahann Carol, Megan Goode & Jurnee Smollet, this drama seethes with intensity broken by moments of levity. ... Read more | |
| 193. Arthur Ashe: Citizen of the World Director: Julie Anderson | |
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Description Reviews (1)
Who was this soft-spoken young man? A native of Virginia, Ashe intimately knew the world of segregation. His parents knew of a better world for him and thus insured that his talent as a tennis player was developed. Our film takes us to the places and people who impacted upon the young Ashe's life. They instilled in him the sense of hard work, being a good sportsman but most of all being the ambassador for Blacks whose presence in the sport of tennis was negligible. Follow Ashe in his early years as he makes it through the ranks of Junior tennis ever aware of the burden of responsibility for his people. Arthur developed a deep maturity and sense of style far beyond his years. During the turbulent sixties he was criticised for not being outspoken against racism. Ashe refused to allow anyone to dictate the terms of his actions and went along his own tract. His controversial tournament in South Africa, his boycott of Wimbledon, his untiring efforts to help young people and his crusade against aids shows a revolutionary young man. I was surprised by the imapct of this film on my perception of Ashe. He comes across as a caring spirit who moves beyond the game of tennis. He believes that there is more to his life than just a game and believes in giving back to the community. You can't help but be moved over his courageous spirit in going through two heart attacks and then being diagnosed with aids. For some athletes such news would be a sad ending. For Ashe it was a catalyst for him to do more and the world has appreciated his efforts. Watching this film will make you appreciate the quiet strength, love and determination of a man who was above his class in the sports arena. The world was blessed with a man who was a scholar, athlete, coach and activist who fully gave of himself. ... Read more | |
| 194. Intruder in the Dust Director: Clarence Brown | |
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Reviews (3)
But this is not Oxford. While "Intruder" may not have been part of the trilogy about Yoknapatawpah, there is a "Jefferson" banner on the wall of Claude Jarman, Jr.'s character's room along with those of "Tennessee" and "Vanderbilt". No "Ole Miss" banner, because Ole Miss did not exist in Yoknapatawpah County. One must realize that Faulkner lived in the deep south and spoke out against the social system in the 1920's. Clarence Brown came to Faulkner's home town and made a movie with a powerful social statement in 1949. In both cases the statement had to be on two levels -- one a story that keeps the reader or viewer's attention, and the other a deep insight into how the human mind works. The extras in the movie didn't worry about the social statement: they were just having fun. But today I cannot believe that the movie was even released, much less premiered in Oxford, given that the Civil War was only 85 years gone and reconstruction was still deeply engraved in the memory of many people. Having said all that, I hope the reader of this review understands that I am recommending this movie for more than its entertainment value. I must recuse myself from judging the art and entertainment content because my father was the location consultant and one of the extras with a speaking part. Some of my 9-year-old friends were in it, I saw them film much of it, and I know where just about every scene was made. I am probably better qualified to provide trivia than a review. You probably wouldn't have known that the ice is really parrafin or that the quicksand is really oatmeal. I wouldn't have noticed either, until my father told me. Yoknapatawpah may have had ice and quicksand, but I never saw either in the county where I lived. The flat tire on the Sheriff's car kept coming off the rim so they had to reshoot many times. Today they would have just added sparks where the rim hit the pavement. If the country store used for the interior shots is not a famous restaurant today, it certainly looks like the one people come from all over the country to visit, completely unremodeled to this day. But whereas in 1949 I just saw a bunch of people milling around, today I see at one level my home town caught and preserved before all the buidings were rennovated. At another level I see the camera work -- the framing, the zooming, the closeups, the perspective, the black and white imagery. And I understand the story better, too. Find this movie, see it with someone intelligent, and discuss it.
There's tension throughout, from the very beginning when the dignified Lucas Beauchamp, played by Juano Hernandez is arrested for supposedly shooting a white man in the back. There's a huge crowd of white people lining the streets but there is absolute silence as the thud of Beauchamp's footsteps echo as he is led to the jail. A young white teenage boy, played by Claude Jamen, Jr., who had been befriended by the dignified Beauchamp several years before, convinces his uncle, played by David Brian, to help save Beauchamp from the inevitable lynching. I thought the story was a good one as it kept me glued to the screen, not even walking away when my computer signaled that fresh e-mail had arrived. But yet, with the exception of Porter Hall who played the one-armed father of the murdered man and Elizabeth Patterson, cast as the feisty elderly lady who instigated the investigation and single handedly delayed the potential lynching, the performances of the leading characters seemed wooden. This is a basically a good film though and it deals with some important themes. Yes, it could have been done better, but I still think it's worthwhile seeing. And so I give it a warm recommendation. ... Read more | |
| 195. Cooley High Director: Michael Schultz | |
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| 196. Biography - Sammy Davis Jr.: Mr. Entertainment | |
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| 197. Black Samson Director: Charles Bail | |
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| 198. Gordon Parks: "Visions" | |
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| 199. Tiger Woods - Son, Hero & Champion | |
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| 200. Mo' Money Director: Peter MacDonald | |
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Amazon.com Reviews (5)
POW POW! Two for One!
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