Reviews (39)

Decent (not great) presentation of drive-in classic
Of course, if you're reading this, you probably already know that "Shaft" is an above-average blaxploitation flick with Richard Roundree as a private detective hired to track down a Harlem gang boss' missing daughter. With dialogue like "You got problems, Shaft?" "Yeah, two of 'em. I was born black and I was born poor." you really can't lose.

So on with the DVD. The film itself is nicely letterboxed (I think for the first time), and while it's not made from the greatest print (there are a couple scratches), it's a perfectly acceptable presentation.

Extras include trailers for all three Shaft flicks . This is great--I wish Warner had done the same with their "Dirty Harry" DVD. (They did with the VHS version.) There's also a 1971-produced short "Making of" film and the option to view the movie in French (a surreal experience, to be sure.)

The cast and crew bios, however, are pretty meager, offering only a relatively complete portrait of Richard Roundtree. Where's Moses Gunn? Or Gordon Parks? The "Awards" option is pretty worthless as well, showing that the movie won the Oscar for "Best Original Song."

Oh, yes, and there's no commentary track with Director Parks as is described on the Amazon site. Forgivably, it's not mentioned on the DVD box, so this is probably just something that didn't pan out at the last minute.

It's still lots of fun, but not what it could have been.

A Winner!
This is the genuine original "Shaft" from 1971, with Richard Roundtree, that scored so well with inner-city (read: African-American) audiences that it spawned two sequels and created a new mini-genre, the grudgingly titled "Blaxploitation" films. As a kid living in a rural white area at the time, I missed this important and popular movie until I saw it last week in my VCR. And you know what? It's good.

Shaft is a private investigator who is hired by a local crime boss to find his beautiful, vulnerable daughter, who has been kidnapped by a rival ring from New Jersey. This is no small potatoes: a major drug war could break out between Jersey and Harlem if the problem isn't resolved soon. By the way, someone goes crashing through Shaft's very high office window in his presence, so Shaft has to bargain and barter with his only sympathetic contact in the NYPD to keep from being arrested on a murder charge. Shaft has to work on his own, under cover, without most of the advantages the police enjoy.

The performances in this film are wonderful. It shows how shamefully Hollywood has ignored black talent that actors the caliber of Moses Gunn didn't get steady work, and the situation is only marginally better today. The talent brings conviction to a gangster plot line that is really just an update of 1930s material, minimizing its formulaic quality and keeping it fresh. There are also sharp points made about the realities of urban black life. Example: A taxicab pauses, then zooms by well-dressed Shaft, only to stop 50 feet up the street to pick up a similarly dressed white guy. It's stuff like this that raises "Shaft" well above the movie-of-the-week level that infects so many routine and direct-to-video films.

I think that time may have actually improved "Shaft." The violence is just violence. Shooting a gun is just that, not an invitation to buckets of blood. A car crash is a car crash, not a fireball. One thing the writers or producers seem a little conflicted about is the level of swearing: a character will say "[bad]" in one sentence, use the s-word in the next, then revert to "[bad]" Ditto those well-worn terms about fornication. Well, 1971 was a confusing time.

For a generation raised on Joe Fridays, Shaft is quite an interesting character, a handsome leather-clad James Bond without all the high-tech gadgetry. He has a nice apartment and a loving wife, but he also keeps a sleek, tasteful bachelor pad that Hugh Hefner might envy. He must be quite the successful P.I.! I suppose this bit of fantasy was meant to serve as relief to the gritty urban drama played out on the streets. At any rate, I didn't mind it. If you're sitting on the fence about this movie, buy the tape; it's quite cheap.

The original
Gordon Parks created a sensation in Shaft with an ultracool performance by Richard Roundtree who went onto to do several films in this series. However none holds up as well as does the first film, which plays just as well today as it did in the 70's. Shaft was the quintessential rogue cop, taking orders from no one and tracking down the crooks no matter where they hid in the city. But what really makes this movie work is the feel Parks has for New York, capturing the quality of the inner city like few others have been able to do. One is carried along on the hip soundtrack by Isaac Hayes, taking in the mean streets of Harlem as Shaft fights both the corrupt police force and the underworld. Always one to do it his own way.

The mob wanted Harlem back. They got shaft...up to here.
That title is the films original tagline...and they got the shaft allright!

Shaft is a great 70's urban classic. The film is beautifully photographed and staged. The atmospheric camera work captures the streets of New York, always keeping the look of the film harsh and cold. The color scheme is typical 70's muted with acidic contrasts, but at the same time uses a number of blue tinges, especially in the outdoors, to suggest the cold environment the people are facing.

The DVD is presented in the film's original 1.85:1 theatrical aspect ratio as well as an open matte (fullscreen) transfer that adds some picture information at the top and the bottom of the screen. The transfers look pretty darned good for a 1971 flick. Audio is presented in the film's original monaural track and is fairly weak, though acceptable.

The DVD features includes a bonus documentary "Filming Shaft on Location", three trailers and cast biographies.

You gotta love Shaft & Richard Rountree. A great flick and a great DVD.

THE BEST OF THE BLAXPLOITATION FILMS
PERHAPS THE BEST BLAXPLOITATION FILM OF THEM ALL. JOHN SHAFT [RICHARD ROUNDTREE] IS HIRED TO INVESTIGATE THE KIDNAPPING OF A GANG LORD'S DAUGHTER. VERY INTERESTING MOVIE WIH LOTS OF GREAT MUSIC. THE FILM ALSO HAS A SHARP SENSE OF HUMOR. FOR A FUN TIME, CHECK OUT THIS CLASSIC 1971 ACTIONER. ISSAC HAYES WON AN OSCAR FOR THE SHAFT THEME SONG. FOLLOWED BY TWO SEQUELS, A TV SERIES, AND WAS REMADE [SORT OF] IN 2000. ... Read more

Reviews (7)

I DON'T KNOW WHAT TO SAY ABOUT THIS ONE
AFTER SEEING HOW ENTERTAINING THE ORIGINAL ''SHAFT'' WAS, I WAS DISSAPOINTED BY THIS SEQUEL. THIS TIME, SHAFT INVESTIGATES THE MURDER OF AN OLD FRIEND. SOMETHING THAT MADE THE FIRST FILM SO ENJOYABLE IS SIMPLY JUST MISSING FROM THIS ONE. THIS FILM IS MEDIOCRE AT TIMES, BUT THANKS TO RICHARD ROUNDTREE'S LIKABLE PERFORMANCE, AND THANKS TO THE EXPLOSIVE FINAL HALF HOUR, THIS FILM IS WATCHABLE. ONCE AGAIN, THE THEME SONG IS A HIGHLIGHT. FOLLOWED BY SHAFT IN AFRICA.

Nu Yawk's Koolest
Back in prehistoric times, John Shaft was the role model if you was a nice guy, Priest from Superfly was the man if you was dreaming of livin' the life. Shaft's Big Score the followup to the Cool Black crimefighter series, is a slickened up version of the much more grittier original. Still, the bad ... gets off. The climatic chase has been "rescene" in dozens of later films from Hollywood and around the world and Mr. Parks still doesn't get the proper props for bringing to the screen a cultural icon that despite time and Singleton's "nephew" is still the Man. The late Reverend O.C. Smith is too countrified for singing a Big City theme but the powers the be didn't want to pay Isaac"Black Moses-Voice of ... Reason Chef from South Park" Hayes asking price. But there is a tease of what it might of been in the club scene where somebodys' girlfriend swirls to the early '70s funk. Never mind the usher pass the joint and hand me the gin Shaft Big Score is smokin' Jim.

Shaft Is Back !! With Good Action Scenes and Sexy Smile
Because of the success of the original "Shaft," MGM upgraded the series, giving more action scenes and less nudity; so this time Shaft in the opening credits drives a car in the midnight New York while in the previous film he was walking down the street.

The basic of the story is not particuarly original. It is about the missing money from the safe of Shaft's friend and insurance broker. As Shaft starts his investigation, a crime syndicate is looking for the money while it tries to kill him, but of course, it's a very, very wrong idea. Our Shaft, keeping the police and Bumpy (Moses Gunn re-appearing from the original) at bay, gets what he wants, as always!

Gordon Parks (who had a long remarkable career as photographer, and himself appearing as a croupier here) demonstrates he is also good at presenting impressive action scenes, especially the chase scenes at the end of the film. However, by the today's standard, they might look too long and stretched. Actually, the stunts themselves are impressive, but if the editing had been tighter, they would be much better.

Richard Roundtree looks as sexy as ever, and entertains us with his suave way of talking to girls. Other characters are drawn better than original "Shaft." Charismatic Julius W Harris is cast effectively as a detective, and the idea of clarinet-playing gangster is interesting. And Drew Bundini Brown's Willy is a standout. The movie is a satisfactory, if not perfect, action thriller.

Effective Sequel
When a friend of Shaft is killed in an explosion, the super-slick private dick tries to track down the killer. During Shaft's investigation, he once again crosses paths with Bumpy Jones, the Harlem mob boss from the first film, as well as another ganster, Gus Mascola. Again Shaft begins to play all sides against each other, in order for him to get what he wants, revenge, and a big chunk of change! This film was rushed into production to cap on the success of the first film, and the hurried production shows in the film. The plot is kinda weak, and the classic dialogue from the superior predecessor is sorely missed. However, the awesome chase scenes at the end of the film, as well as the increases in both sex and the body count make this an over all fun ride. Followed by Shaft in Africa.

Shaft 2 is 2
Shaft's Big Score was the second entry of the series. The main let down was the music that was provided with O.C. Smith's vocals. It had some gems of dialogue like the elderly lady scene at the elevator. Being a vehicle showcasing black actors, it was a conversation piece for the African American while playing card or during breaks at work or school. It was a thrill to watch then and still is fun now. ... Read more

Amazon.com

Shaft
Gordon Parks (The Learning Tree) directed this 1971 detective story about John Shaft (Richard Roundtree), an African American private eye who has a rocky relationship with cops, an even rockier one with Harlem gangsters, and a healthy sex life. The script finds Shaft tracking down the kidnapped daughter of a black mobster, but the pleasure of the film is the sum of its attitude, Roundtree's uncompromising performance, and the thrilling, Oscar-winning score by Isaac Hayes. Parks seems fond of certain detective genre clichés (for example, the hero walking into his low-rent office and finding a hood waiting to talk with him), but he and Roundtree make those moments their own. Shaft had a couple of sequels and a follow-up television series, but none had the impact that this movie did. --Tom Keogh

Shaft in Africa
The second sequel to the hit Shaft foreshadows itself early on when Shaft, asked to go undercover in Africa to halt modern-day slave trade, claims that he's not James Bond but strictly Sam Spade. Bond, however, is the operative model here, with John Shaft masquerading as an Ethiopian to infiltrate the slave business and bring it down. Yet everyone he encounters seems to know who he is and wants to kill him--but the string of dead bodies he leaves in his wake across two continents proves that no one is able to stop everyone's favorite hip private eye. Written by Stirling Silliphant, the film is long on action set pieces that are filmed with more energy than in Shaft's Big Score. Given contemporary practices involving smugglers of illegal Chinese and Mexican immigrants, the plot isn't all that far-fetched. Roundtree, as usual, is the picture of unflappable cool--but don't get him mad. --Marshall Fine ... Read more