Raetsonwe Redundant and unnecessary.

Listonixio Fresh and Exciting

MusicChat It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

Usamah Harvey The film's masterful storytelling did its job. The message was clear. No need to overdo.

mgtbltp One neat little bonus of going on a Neo Noir hunt is finding those diamonds in the rough that come completely out of left field. Sometimes a film is hyped so fully as one thing that its never looked upon or considered as any thing else. This film especially so since its considered one of the first of its own genre.Shaft (1971) has been called the first blaxploitation flick, screw that and it's derogatory connotations (think Sergio Leone vs the majority of "Spaghetti" Westerns as a reference point), its actually not only a great PI film, directed by Gordon Parks (acclaimed photojournalist for Life magazine ) but also shot in a very noir-ish style by Urs Furrer. Between the eye of the director and the skill of the cinematographer the film looks beautiful. The shots of Manhattan, The Village, Harlem circa 1970 are gorgeous. It's sleazy Times Square/42nd Street at fin d'une époque, before Disneyfication eradicated it all.Establishing shot, an aerial view of 7th Avenue Manhattan looking North towards Broadway and Times Square. A cacophony of traffic blares skyward, we look down upon madly scintillating 42nd Street theater marquees, classic Hollywood product, Lancasters The Scaphuters, Redfords's Little Faus And Big Halsey competing with triple X features He And She, School for Sex and The Wild Females, this ain't Busby Berkeley Territory anymore. Isaac Hayes' soul and funk-styled iconic theme song begins to pulsate the title appears over a subway entrance as leather clad Shaft glides up to the trash littered gum stained sidewalk and jaywalks his way across the main stem. This title sequence segues into the beginning of the story when Shaft is alerted by Marty the blind news stand paper seller that two cats were looking for him. Shaft is based on an Ernest Tidyman and John D. F. Black screenplay from a book by Tidyman. The dialogs are all spot on in 70's hip jive. It's co-produced by Stirling Silliphant (who wrote late classic noirs, 5 Against the House, Nightfall, The Lineup and also neo noir -ish In The Heat Of The Night). What's sad is Shaft gets right what practically every Mike Hammer, the quintessential NY P.I, based film neglects, and that is a real feel for the gritty noir, on location, underbelly side of New York City. (save Allen Baron's 1961 Blast Of Silence, and Armand Assante's I, The Jury(1982)) and even the latter doesn't spend near enough time in the streets Shaft is a very plausible re-imagining of the classic private eye flick. The P.I. was always about cool this go round it is about back COOL. Richard Roundtree is perfect as the suave hip protagonist John Shaft, a good detective, grudgingly getting genuine respect from all. Moses Gunn is incredibly good as tough crime boss Bumpy Jonas showing quite a bit of range as he pleads with Shaft to take his case. Charles Cioffi as Androzzi Shaft's NYPD detective cop buddy holds his own and runs interference between Shaft and the department. Drew Bundini Brown is Bumpy henchman Willy, Christopher St. John is Ben Buford a former hood rat friend of Shaft who is now a black militant, Antonio Fargas is great as streetwise Bunky. Character actor Lee Steele plays a blind news vender. Shaft is a Neo Noir New York City wet dream, it hits on all cylinders, check it out. 10/10

thefensk I just watched this film. The last time I saw it was when it came out. The flaws in the movie were the same flaws evident in a lot of late 60s and early 70s movies. Film had undergone a transition to a more gritty look ... by the 80s they seemed really bad. Now they seem almost nostalgic ... probably people felt the same way about film noir at the time and shortly after. One of the most interesting things it has going for it is due to that raw and gritty look, which included quite a lot of location shots in early 1970s NYC. The score matched the cinematography very well. In 1971 I thought it was entertaining. We didn't call it a blaxploitation film back then. I guess its moderate success spawned the genre so in that sense it was either the first or the inspiration. But I think to lump it into that basket is wrong. In reality it is a 1971 detective flick focusing on a black character, set among a lot of black characters, mostly hoods, poised against a bunch of white characters, mostly hoods. It's right there in the movie ... the police detective makes that same observation. Not Black against White ... it is a turf war between black hoods and white hoods. And between them all is John Shaft. Richard Roundtree plays it with a finesse that although almost corny now to the point of being a caricature, at the time it was easy to take it at face value. He was a hard nosed P.I. and he focused on his case. The absolutely smartest scene was when the guy helping Shaft save the girl was sent in to pose as a room service waiter in the dingy hotel where the mafia guys were holding the hostage. He seemed resentful at first but he got a look on his face sort of like, "hey, I KNOW HOW TO DO THIS." Sure, using the degrading stereotype to complete the undercover. Three drinks. Three dudes. He's got the information but he's got to play the role. He stands there waiting for his tip and gets it, generous in mafia fashion too. Anyway, I say throw the blaxploitation label out the window and enjoy the movie for what it was and what it is ... a better than average 1970s detective movie. I wish they showed it on TV more.

Dabaens From out of the surge of the many blaxploitation films following the release of Melvin Van Peeble's 'Sweet Sweetback's Baad Asssss Song' comes 'Shaft', directed in 1971 by Gordon Parks. 'Shaft' seems to have stood out from the others within this exclusive genre, and rightfully so for its smooth and funky approach towards a division of films that's been dominated by white leads. Richard Roundtree plays John Shaft, the big badass private eye of New York City, and displays a confident, sexy and tough attitude that makes him such a memorable character. This film is rich with soul, and features the funky music of Isaac Hayes to complete the tribute to black culture in that time. These are the elements that contribute to its significant value among blaxploitation films.The film features a typical storyline that's nothing out of the ordinary among crime films; John Shaft is hired by a crime lord to rescue his daughter from a group of Italian mob figures trying to take over territory in Harlem. While this film is more commonly known as a blaxploitation film, it actually contains a few characteristics of film noir, which certainly adds to its uniqueness in its time. The setting takes place in the suburbs of New York, and mostly appears rather gloomy and unemotional throughout the movie. The highlight of the city though is when Shaft is walking through the streets to the funky music of Isaac Hayes, who sings of the life of black culture within the city.Shaft rarely shows much emotion in this film, and often acts reserved among the people around him. He maintains a composure and attitude that should be respected and in turn delivers a strong representation for the black community. His character alone makes this movie a considerably powerful film that speaks loudly and gives the black community a powerful character in film they can find inspiration in.

Benjamin Cox I'm always weary of watching films that are revered or perceived as being seminal. Not because any criticism I have will be ignored but because what flaws are there are easily over-looked in the face of the film's stature - no-one complains about the Venus De Milo having no arms, after all. In movie terms, this is a film that is all about breaking barriers - the first successful blaxploitation movie, it was this film (and its iconic soundtrack) that fuelled an entire genre of cinema and led to two sequels, a TV series and even a recent reboot - such is the reverence that "Shaft" is held in. However, in the cold light of day and ignoring such feelings, it's interesting to note that it is actually a pretty average film albeit one with an astonishing soundtrack.Richard Roundtree plays John Shaft, a cool-cat private eye working the seedy streets of New York City. After encountering two goons in his office (and sending one of them to the sidewalk via a window), Shaft finds himself in the employ of local crime boss Bumpy Jonas (Moses Gunn) who hires Shaft to locate his missing daughter. Reluctantly, Shaft takes on the case and soon finds himself in all sorts of trouble with the Mafia who are muscling in on Bumpy's turf. Not only that but Shaft is tailed by homicide detective and occasional buddy Vic (Charles Cioffi) who is convinced that there is more going on than Shaft is prepared to tell him...There is a curiously low-budget feel to "Shaft" that I wasn't expecting, highlighted by the near-constant over-dubbing of Shaft and other characters' dialogue. The action, when it does come, is also not filmed very well by director Gordon Parks - his strength seems to be in building atmosphere and there are times when the air hangs heavy with expectation such as the fantastic opening scene. Roundtree is the ultimate bad mother-f*****, making what might have been an ordinary character into one for the ages. He is almost impossibly cool and with Isaac Hayes' legendary soundtrack pulsating in the background, you can't help but fall in love with the film. All the other actors can do is bask in Roundtree's glory and to be fair, they all do their part. The story might look and feel like a classic (or should they be clichéd) film noir and initially, I was struggling to find interest in it. But something curious happened - I suddenly found myself paying more attention to it and getting involved. Digging it, if you will.In a lot of ways, it reminded me of the first "Star Wars" in that here is a film that isn't that well made in parts and at times, isn't that entertaining but slowly and surely, you fall in love with it. You have to give it respect for its legacy if nothing else but also because it helped to break down racial barriers that had existed in Hollywood for so long. Here was a film where almost all the principal characters and actors were black and the film was still successful, flying in the face of studio expectation or cynical critics. This is a deeply cool movie to watch and even better to listen to - it's also better than the Samuel L Jackson version a few years back because this feels like the genuine article and it is, of course. Not every day that Sammy J comes second in a cool contest but on this occasion, "Shaft" really is the man. Looks like I've proved my own point...