"KEEP BUSTIN'."

Posts Tagged ‘Richard Roundtree’

Shaft

Thursday, January 1st, 2009

SHAFT was never one of my favorite blaxploitation pictures. Despite the reputation and legendary theme song I always thought it was kind of boring. But revisiting it in 2008 I feel like I finally get it – I really enjoyed it this time. The lyrics to the theme song are so over the top and have been goofed on so much that maybe you expect something bigger than what the movie actually is: one part detective story, one part straight up BADASS. The music by Isaac Hayes, the shots set up by director Gordon Parks, everything is designed to pay tribute to Richard Roundtree and his character of John Shaft and document what a Bad Motherfucker he is as he navigates the underbelly of 1971 New York. And it’s really not what we think of as a blaxploitation story, it’s a P.I. story. A detective hired by a gangster to rescue his daughter from the mob.

Have you seen AMERICAN GANGSTER? At the beginning of that movie the kingpin of the black mafia, Bumpy Johnson, dies. Denzel’s character Frank Lucas takes over the empire. Well, that’s who hires Shaft in this movie. He’s called Bumpy Jonas instead of Johnson, but he’s based on the same real life underworld figure. And that’s one of the many ways the movie backs up the claims made in the theme song. He makes an appointment with Bumpy, then shows up late, deliberately keeps him waiting. Then he’s rude to him. Then he makes prima dona demands for his hiring. And before Bumpy leaves he threatens him. You might think he’s just trying to act tough, but when Bumpy leaves the room he just laughs. Clearly not scared at all. That Shaft is one bad mutha shut yo etc. (read the rest of this shit…)

Shaft (2000)

Friday, June 16th, 2000

Going in I didn’t know WHAT to expect. A remake? A sequel? The ads made it look silly and ridiculous. Like not so much a remake as a big screen adaptation of the Shaft theme song.

But then I never thought Shaft was the god damn word of the lord or anything. He’s a cool character and I like his work and what he accomplishes with the ladies but I never thought his pictures had the same emotional depth of Superfly or The Mack or Blacula. Maybe it’s because those are movies about outlaws instead of a law enforcement figure like a private eye. Or maybe not. I think you kind of had to be black at that time to know what it meant to finally see a black James Bond character like John Shaft. But at the time, just as now, I was a white man.

So I was open to some noodling and fiddling with the Shaft character, but to my surprise it is a surprisingly faithful update with hardly any shenanigans. It is a pretty serious story of Shaft trying to catch a racist murderer rich boy bail jumper played by none other than the American Psycho from the film American Psycho starring Patrick Bateman. The tone of the picture is a very strange and enjoyable cross between gritty police stories like Clockers and the Homicide television program and the more corny ’70s tv shows like CHiPs. So the violent scenes are grim and disturbing but you still got a foot chase or two with Shaft chasing a dude up and down fire escapes fueled only by wah wah guitars.

The reason I like this picture is mostly the ’70s feel. The only Isaac Hayes song they used is the main theme, but the score is all extrapolated from the style of that piece. And Shaft is a character with a combination of qualities you just don’t see all at once anymore. He is the guy who always looks cool, always knows how to trick somebody or kick somebody’s ass something good, is single and open to sharing his charms with many ladies, and who also is sensitive and supportive to the point of sainthood. During the court room scene, he is sitting behind the mother of the victim, rubbing her shoulders and telling her everything is gonna be okay. You almost think he is a guardian angel. (read the rest of this shit…)