The new ShaftMovie hits theaters tonight—but V.F. critic melvillmatic says you’re better off settling in with the original
seminal classic. “In many ways, it resembles last year'swhich also seemed aimed at black audiences unused to seeing their urban experience portrayed on the screen; and its problems are similar.”
The problems: “It's a formula picture, and it's the wrong formula both for its subject and for Parks.”Sweet Sweetback’s Baadasssss Song , released the same year—were only the beginning. Soon there’d be a fully-fledged genre, called Blaxploitation, full of mish-mashes like these: black heroes in low-rent movies of the kind that had, to that point, only ever cast black actors to play the bad guy.
Now these actors were playing both sides: cops and crooks, enforcers of the law and its powerful adversaries. Their high-kicks and hi-jinks were as buoyant as the Afros on their heads and smooth as the leather on their backs—to say nothing of the varieties of blaxploitation that had nothing to do with crime, per se, but everything to do with the urban realities of black American life in the 70s.
These were figures with names like Shaft and Coffy and Foxy Brown—figures of the Harlem underworld, in some cases, rogue detectives in others, all of them coming up in worlds full of pimps and hustlers, Black Panthers and other radicals, thwarters of justice and regular black folk trying to get a piece of it.
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