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Blaxploitation

1971–1976 · 29 films catalogued

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.

The argument about the name

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.

Why it ended

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.

Where to start

Coffy for Pam Grier. Super Fly for Curtis Mayfield, whose score spends its runtime arguing with the film it is in.

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  • Blaxploitation, 1971 to 1975

    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.

Blaxploitation films on file

All 29 Blaxploitation films →
Poster for Shaft

Shaft

1971 · USA · 97m
Obscurity: canon. watchable legally

Gordon Parks directs a solid detective film. Isaac Hayes does the rest.

Poster for Blacula

Blacula

1972 · USA · 93m
Obscurity: known. watchable legally

William Marshall plays it completely straight and almost saves it.

Poster for Foxy Brown

Foxy Brown

1974 · USA · 87m
Obscurity: known. watchable legally. banned somewhere

Coffy again, louder and worse written. Grier is still magnetic.

Poster for Coffy

Coffy

1973 · USA · 87m
Obscurity: known. watchable legally

Pam Grier's arrival. Jack Hill knows exactly what he has.

Poster for Sweet Sweetback's Baadasssss Song

Sweet Sweetback's Baadasssss Song

1971 · USA · 93m
Obscurity: known. watchable legally

Financed independently, structured like nothing else, and it changed the industry.

Poster for Super Fly

Super Fly

1972 · USA · 93m
Obscurity: cult. watchable legally

Curtis Mayfield's score critiques the film it's in. Remarkable object.

Poster for Across 110th Street

Across 110th Street

1972 · USA · 102m
Obscurity: cult. watchable legally

Grim, well acted, and the best film in the cycle by some distance.

Poster for Black Caesar

Black Caesar

1973 · USA · 87m
Obscurity: cult. watchable legally

Larry Cohen shooting Harlem guerrilla-style. James Brown scores it.

Poster for Cleopatra Jones

Cleopatra Jones

1973 · USA · 89m
Obscurity: cult. watchable legally

Tamara Dobson, six feet two, government agent. Shelley Winters overacts gloriously.

Poster for Black Belt Jones

Black Belt Jones

1974 · USA · 87m
Obscurity: cult. watchable legally

Jim Kelly karate-chops the mob to save a Watts dojo. Blaxploitation meets kung fu, joyfully.

Poster for Black Mama White Mama

Black Mama White Mama

1973 · USA · 87m
Obscurity: cult. watchable legally

The Defiant Ones with Pam Grier, shot in the Philippines by a Filipino who actually knew the terrain.

Poster for Cotton Comes to Harlem

Cotton Comes to Harlem

1970 · USA · 97m
Obscurity: cult. watchable legally

Two Harlem detectives chase a stolen fortune hidden in a bale of cotton. The one that opened the door.

Poster for Hell Up in Harlem

Hell Up in Harlem

1973 · USA · 94m
Obscurity: cult. watchable legally

Larry Cohen's weekend sequel to Black Caesar, rougher and more berserk than the original.

Poster for The Spook Who Sat by the Door

The Spook Who Sat by the Door

1973 · USA · 102m
Obscurity: cult. watchable legally

The most political film the blaxploitation boom made, pulled from cinemas and buried for thirty years.

Poster for Abby

Abby

1974 · USA · 89m
Obscurity: cult

The blaxploitation Exorcist. A minister's wife is possessed by a sex demon. Warner Bros sued.

Poster for Dolemite

Dolemite

1975 · USA · 90m
Obscurity: cult. watchable legally

Technically inept and completely irresistible. Boom mics in every other shot.

Poster for Scream Blacula Scream

Scream Blacula Scream

1973 · USA · 96m
Obscurity: cult. watchable legally

The rare sequel that adds Pam Grier and a shred of dignity.

Poster for Trouble Man

Trouble Man

1972 · USA · 99m
Obscurity: cult

Cool to the point of refrigeration, scored by Marvin Gaye the one time he ever bothered.

Poster for Truck Turner

Truck Turner

1974 · USA · 91m
Obscurity: cult. watchable legally

Isaac Hayes in front of the camera for once, and Nichelle Nichols swearing.

Poster for Ganja & Hess

Ganja & Hess

1973 · USA · 113m
Obscurity: cult. watchable legally

An art film that was sold as a vampire picture. Recut and buried for decades.

Poster for J.D.'s Revenge

J.D.'s Revenge

1976 · USA · 92m
Obscurity: cult. watchable legally

A dead 1940s gangster possesses a mild law student. Blaxploitation crossed with the supernatural.

Poster for Sugar Hill

Sugar Hill

1974 · USA · 87m
Obscurity: cult. watchable legally

Revenge via Haitian zombies. The best of the blaxploitation horror crossovers.

Poster for The Mack

The Mack

1973 · USA · 110m
Obscurity: cult

Half drama, half documentary of 1970s Oakland. The real players are in it.

Poster for Detroit 9000

Detroit 9000

1973 · USA · 106m
Obscurity: obscure. watchable legally

A biracial cop pairing hunts jewel thieves in Detroit. Tarantino re-released it for a reason.