Shaft
Gordon Parks directs a solid detective film. Isaac Hayes does the rest.
Black-led American genre films, 1971 to 1976. A real industry moment, shut down as soon as something bigger came along.
Roughly two hundred films in five years, with Black leads, made largely for Black urban audiences, keeping several studios solvent along the way.
Melvin Van Peebles financed Sweet Sweetback's Baadasssss Song (1971) independently and proved the audience existed. MGM's Shaft, the same year, proved a studio could monetise it. Crime films dominated, but the cycle also produced horror (Blacula), westerns (The Legend of Nigger Charley) and martial arts crossovers.
Junius Griffin, then head of the Beverly Hills NAACP, coined "blaxploitation" in 1972 as an attack. His charge was that white-owned studios were extracting money from Black audiences while recycling pimps and pushers. That criticism has force.
So does the reply. These films employed Black actors, directors, composers and crews at a scale the industry would not match again for twenty years, and gave Pam Grier and Gordon Parks careers.
Not because the audience left. Jaws and Star Wars arrived, the studios learned what a crossover blockbuster earned, and a targeted audience started to look small.
Coffy for Pam Grier. Super Fly for Curtis Mayfield, whose score spends its runtime arguing with the film it is in.
Melvin Van Peebles caught gonorrhea on his own set, filed a workers' comp claim, and bought more film stock with the settlement. Four years later the studios had mined the audience out and moved on.
Gordon Parks directs a solid detective film. Isaac Hayes does the rest.
William Marshall plays it completely straight and almost saves it.
Coffy again, louder and worse written. Grier is still magnetic.
Pam Grier's arrival. Jack Hill knows exactly what he has.
Financed independently, structured like nothing else, and it changed the industry.
Curtis Mayfield's score critiques the film it's in. Remarkable object.
Grim, well acted, and the best film in the cycle by some distance.
Larry Cohen shooting Harlem guerrilla-style. James Brown scores it.
Tamara Dobson, six feet two, government agent. Shelley Winters overacts gloriously.
Jim Kelly karate-chops the mob to save a Watts dojo. Blaxploitation meets kung fu, joyfully.
The Defiant Ones with Pam Grier, shot in the Philippines by a Filipino who actually knew the terrain.
Two Harlem detectives chase a stolen fortune hidden in a bale of cotton. The one that opened the door.
Larry Cohen's weekend sequel to Black Caesar, rougher and more berserk than the original.
The most political film the blaxploitation boom made, pulled from cinemas and buried for thirty years.
The blaxploitation Exorcist. A minister's wife is possessed by a sex demon. Warner Bros sued.
Technically inept and completely irresistible. Boom mics in every other shot.
The rare sequel that adds Pam Grier and a shred of dignity.
Cool to the point of refrigeration, scored by Marvin Gaye the one time he ever bothered.
Isaac Hayes in front of the camera for once, and Nichelle Nichols swearing.
An art film that was sold as a vampire picture. Recut and buried for decades.
A dead 1940s gangster possesses a mild law student. Blaxploitation crossed with the supernatural.
Revenge via Haitian zombies. The best of the blaxploitation horror crossovers.
Half drama, half documentary of 1970s Oakland. The real players are in it.
A biracial cop pairing hunts jewel thieves in Detroit. Tarantino re-released it for a reason.