Tomorrow is the 45th anniversary of Shaft, the jewel in the crown of the blaxploitation genre. Even the powerful effect this film had on American cinema is overshadowed by its phenomenal cultural impact. Richard Roundtree’s portrayal of John Shaft turned him into a cinema icon and became a measuring stick for power, strength, confidence and masculinity, especially among America’s black community. Shaft‘s status is legendary, but is it actually a decent film? Beyond academic reasons, is Shaft a movie worth recommending simply because it’s a well made, entertaining piece of work? The answer is you’re damn right.
Based on the novel by Earnest Tidyman, it tells the story of John Shaft, a private detective living and working in Harlem. Local crime lord Bumpy Jonas (Moses Gunn) seeks out his help to find his kidnapped daughter. Shaft tries to find out as much information as he can but his sources in the underworld, the police, the black nationalist movement and every bar and club in Harlem are remarkably reluctant to give him any information. Eventually his old friend Vic Androzzi (Charles Cioffi) tips him off that mobsters from another borough of New York have been seen around Harlem and may or may not be connected with the kidnapping. Shaft now has to risk his life to save Bumpy’s daughter while utilising all his strength, wits and citywide connections together.
Right from the start, the film immediately grabs you with its mesmerising look. Director Gordon Parks began his career as a photographer with politically charged yet emotionally effective work during the 40’s, 50’s and 60’s. This background gives Shaft a remarkable cinema veritae aesthetic. While hardly the first film to depict New York or even Harlem, never before was it shown with such grim yet lively honesty. Just as Bullitt did with San Francisco, every location shot in Shaft is exquisite. The streets, the passers-by, the alleyways; all of it is essential to how the film, story and situations play out. The slums of New York can just as equally be considered a leading character in the film.
John Shaft is a unique hero in that he is both realistic and aspirational. Private detectives on film were usually portrayed as detached, bitter and alcoholic. Richard Roundtree as Shaft was the complete opposite. Stylish, confident, witty and devastatingly handsome, this sexy sleuth saw all kinds of action and knew exactly how to get what he wanted. Shaft is indeed a very masculine character but he is only aggressive when confronted. He is one tough guy, and though he rarely starts fights, he usually finishes them. But no matter how clever or good-looking he is, the real world will still treat him as an inferior because of the colour of his skin. Despite his super cool demeanour, Shaft has to deal with the prejudice that follows him in his daily life. As if his job wasn’t difficult enough without having to be ignored by cab drivers.
Blaxploitation films have a reputation for being full of kick ass action and bad ass characters. Those of you expecting anything like that with Shaft are in for disappointment. Shaft is a detective story. Detective stories have mystery and suspense. The protagonist is investigating and calculating all the time and rarely gets involved in high-speed car chases. Once again, Gordon Park‘s depiction of realism in his visual style heightens the tension and keeps us hooked just as well as any gun battle. Nothing builds tension like a believable setting and a genuine concern for the consequences. This is not to say that there is no gunplay in the movie. Shaft’s investigations do lead to some shots being fired but they come in quick and violent bursts. There is no splendid choreography or show-stopping sequences here. The realism of Shaft helped make it a success which inevitably led to the production of numerous other, more superficial films of the genre, but Shaft is more than just jive talking, afros and a wah-wah guitar.
Which brings us to arguably the most famous aspect of the film itself; the soundtrack. In 1971 Isaac Hayes was already a living legend who completely shook the entire foundation of soul music. Because of this, he was selected by Gordon Parks to score the movie. Hayes worked tirelessly between tour dates, writing and recording for the film with his band, The Bar-Kays. The score itself is an exquisite blend of soul, R&B and funk. ‘Bumpy’s Lament’ and ‘Soulsville’ are two tremendous highlights but nothing compares to the terrific title track. A masterwork of tension and atmosphere, it was not only a smash hit but also won the Academy Award for Best Original Song, making Isaac Hayes the first black musician to win an Oscar. The album itself would be Hayes‘ most successful work and even today the album is widely heralded as a masterpiece.
You may have the album at home yourself. If you don’t, I seriously recommend it but I also recommend watching the movie too. It spoke to the black American community like no movie before and helped redefine how minorities are treated in mainstream movies. But what it all comes down to in the end is how good a film it is and Shaft is a very good film. It’s tense, beautifully shot and effortlessly cool with a magnetic leading performance and one of the best soundtracks ever composed. And I’m not talking about James Bond, Bullitt or Sam Spade. I’m talking about Shaft.
