Courtesy of EBONY.com
With the release of The Butler, Fruitvale Station, 12 Years a Slave and The Best Man Holiday, 2013 has been proclaimed a banner year for Black films as well as filmmakers of color. Indeed, while these cinematic feats are being rightfully celebrated in both mainstream and â€œurbanâ€ media, reading about these movies made me think back to when I first noticed a Black film renaissance during the blaxploitation 1970s.
Although in retrospect, the films of my childhood are often considered B-movie shoot â€™em ups without much artistry, at the time Black Caesar, Super Fly, Coffy, The Mack, Trouble Man, Friday Foster and others were the main sources of post-civil rights revenge fantasies of â€œstickinâ€™ it to the manâ€ that flickered on the screen every weekend.
Yet while Melvin Van Peeblesâ€™s X-rated, bugged-out Black art film Sweet Sweetbackâ€™s Baadasssss Song often gets credit for kick-starting the blaxploitation genre in 1970, for me it was â€œthe bad motherâ€¦â€ Shaft a year later (released July 2, 1971) that served as the real inspiration for the Black films that Hollywood produced over those next few years.
Three years after the assassination of Martin Luther King, the character John Shaft became a cinematic symbol of Black power. Played with mighty swagger by then-newcomer Richard Roundtree, snarling Shaft was a Harlem-loving private detective hired by local mob boss Bumpy Jonas (Moses Gunn) to locate his missing daughter.