He’s a bad mother… watch your mouth. Hey, I’m just talking about Shaft. SHAFT brought blaxploitation to the mainstream. Many movie-goers hadn’t seen a black man like him before and there’s a power to the role that is still fascinating today. More so than SWEET SWEETBACK'S BAAD ASSSSS SONG’s protagonist, Shaft was more acceptable to a white audience, yet retained a ferrous “stick it to the man” attitude.
John Shaft (Richard Roundtree, SEVEN) is a private detective, who knows the mean streets of New York City well. When drug dealer Bumpy Jones (Moses Gunn, RAGTIME) sends a couple of thugs to bring Shaft to him, one of the henchmen ends up thrown out a window. Eventually, Bumpy comes to Shaft asking for the PI to locate his kidnapped daughter. Bumpy claims he doesn’t know who would take his little girl, suggesting that it may be Ben Buford (Christopher St. John) and his black power revolutionary group. But things aren’t as they seem and Shaft’s investigation uncovers links to the white mob.
Making things worse, police detective Vic Androzzi (Charles Cioffi, NEWSIES) is always hounding Shaft for information. Androzzi really does have the best intentions in dealing with Shaft, but the private dic has learned that it’s not easy to trust the cops.
Roundtree was a model before being discovered by director Gordon Parks Sr. to star as Shaft. He’s handsome and brings the right standoffish charm to the part. Shaft is like any good private eye; he’s looking for his angle. He’s established and respected in the black community, but as Bumpy says he still has a “foot in whitey’s craw.” He’s out to make money and get laid, but he also has a strong ethical code.
Some complain that his womanizing ways make him no better than the portrayals of lusting, animalistic bucks stalking white woman, which date back to the silent age. However, the fundamental difference between Shaft and those characters is that he not only lusts, but is lusted for. He’s really the first black sex symbol. He’s not only desired by black and white women, but also a gay bartender wishes he could have Shaft. In many ways, he can be seen as an anti-establishment, African-American version of James Bond. He’s suave, well-dressed and all the ladies want him.
Parks, a famed photographer before he dabbled in film, brings his eye for images to the cinematography of the streets of NYC. He brings an unglossy look to the urban environment. He also knows how to pace an action sequence for maximum effect. And when talking about SHAFT one cannot fail to mention the Oscar-winning music by Isaac Hayes. How many people have not seen this film, but know its theme song? Probably a lot. In the end, the film’s crime plot comes second to its central character. But that’s why it’s called SHAFT.
Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks
