As I watched this low budget film I came to realize that while it is exploitation, it's still a story of an angry man that deep down wanted respect from those close to him. The film starts out with a young kid in 1953 Harlem who makes money giving shoe shines and gets involved in a mob hit and is told to take a package to a building to a bad cop named McKinney (Art Lund). McKinney accuses the kid of stealing money from him and is beaten badly until he has a broken leg. Fast forward to the mid 60's and young Tommy Gibbs (Fred Williamson) is now a grown man and executes a mob hit on his own and tells a mafioso named Cardoza (Val Avery) that he's responsible and wants in with the mob and just wants to run an area in Harlem. He rises in power and has some important log books with all the information on important people on the take. He has a girl named Helen (Gloria Hendry) but doesn't have the sophistication to keep her. Finally the mob decides to get rid of him and now he's the target! This film was directed by Larry Cohen (It's Alive!) who is a veteran of low budget efforts and the film is benefited by his experience. The film is actually shot on location in Harlem and in several shots you can see people staring at the camera. Also, the Apollo Theater is seen as the camera pans the street. While this is another version of "Little Caesar" there is an aspect of the story that I found very well handled and it was the scenes where Tommy Gibbs is feeling betrayed and alone. One scene in particular that stands out is at his mothers funeral and he asks his father if he's all right. What adds to these scenes is the effective use of music that helps establish the mood of the film and these scenes in particular. The music is by James Brown and Barry DeVorzon. Even with limited funds and some poorly dubbed dialogue can't detract from the emotions in parts of this film. Fred Williamson is a former football player and his acting experience was very limited so his performance is even more impressive to watch. The guy has natural charisma on screen but he also shows that he can bare his emotions like any good actor. If you like these types of films than this is one of the classics of its genre. As much fun as it was to watch Williamson smear shoe polish on Lund and make him sing "Mammy" the film has more to offer than that. The scenes of Williamson's character feeling alone and betrayed along with the good music score are what make this film stand out from the others of its kind. Classic exploitation.
45 Reviews
The Sum Didn't Equal the Parts
Uriah438 April 2014
Having grown up in extreme poverty in New York City and seeing firsthand the corruption, racism and criminal activity of those in law enforcement, "Tommy Gibbs" (Fred Williamson) decides that he wants to rise to the top and doesn't care what it takes. So he murders a mobster in cold blood to ingratiate himself with a rival kingpin and for this is allowed to set up his own small operation in an unprofitable part of Harlem. What follows is a steady rise to power helped in great measure by his obtaining some ledgers which list all of the corrupt politicians and the payments made to them under the table. Now, as far as a "blaxploitation film" is concerned this one wasn't too bad. Fred Williamson performed decently enough but my main concern was that it seemed like the sum didn't equal the parts. To be more specific, there were some very good scenes but they weren't connected very well. All in all then it wasn't a bad film and those who enjoy movies in this genre might like this one too. I rate it as average.
Hail the mighty Williamson for defining the "blaction" era.
emm18 February 1999
BLACK CAESAR is only the first half in the gangster epic of Tommy Gibbs (Fred Williamson). It has attitude, and comes up strong in detailing the urbanized ghetto culture in a gritty style. Compare this to THE GODFATHER, if you will, because there isn't a lot going on here that its second-half sequel HELL UP IN HARLEM actually offers much more to the story (Maltin, take note of this!). Both films gave Williamson the spotlight he deserved in show business with his mean, dirty style of action-packed influence. This one's just warming up. Best scene to remember: Gibbs putting on the shoe polish of a white man's face to resemble Al Jolson, only in beating the living daylights out of him as he shouts "Mammy! Mammy!". As you'd normally expect for a "blaction" classic, it's pure entertainment, and James Brown's soul music score (absent in the sequel) is the best I've heard. There is a call for examination on Gibbs' "superior" gang who wants to rule over the opposing race, a plot that sometimes goes overboard and needs to be studied. You need to check out and watch BOTH of these titles simultaneously to avoid instant confusion, letting them stick together into a three-hour movie on its own.
The Rise and Fall of a Gangster
claudio_carvalho9 November 2018
In 1953, the delinquent teenager Tommy is raised in Harlem in a period of a racist American society. When he grows up, he becomes a hitman (Fred Williamson) working for the Italian mafia. When he steals accounting ledgers from the mafia, he becomes a powerful kingpin in Harlem, keeping the mobsters and the dirty police commissary McKinney (Art Lund) under his control. But his fall begins when he learns that his mistress Helen (Gloria Hendry) is betraying him with his best friend.
"Black Caesar" is an American action film by Larry Cohen, with the dramatic story of the rise and fall of a black gangster in Harlem. The plot may be dated in the present days, but in 1973 it was a full of action classic of blaxploitation. My vote is six.
Title (Brazil): "O Chefão do Gueto" ("The Big Boss of the Ghetto")
"Black Caesar" is an American action film by Larry Cohen, with the dramatic story of the rise and fall of a black gangster in Harlem. The plot may be dated in the present days, but in 1973 it was a full of action classic of blaxploitation. My vote is six.
Title (Brazil): "O Chefão do Gueto" ("The Big Boss of the Ghetto")
Larry Cohen plus Fred Williamson equals movie dynamite!
Infofreak12 April 2003
'Black Caesar' is one of the most underrated movies of the early 70s blaxploitation boom. Fred "the Hammer" Williamson was one of the most charismatic and cool male stars of the period. Added to that writer/director Larry Cohen ('Q', 'The Stuff', 'Maniac Cop', 'It's Alive!, 'God Told Me To',etc.) and you've got yourself movie dynamite! This gritty rise and fall crime saga will not only appeal to fans of 'Superfly' and 'Coffy' but also to fans of 'Scarface', 'Goodfellas', 'The King Of New York' and even 'The Godfather' trilogy. Williamson plays Tommy Gibbs, a crippled ghetto kid who grows up with one thing in mind - revenge. He ingratiates himself with a local mobster Cardoza (Val Avery, 'The Anderson Tapes') then works his way up until one day he seizes power and becomes "the black Godfather". Along the way he uses and discards many people including his girlfriend Helen (Gloria Hendry, 'Black Belt Jones'), and creates many enemies, not least of which is corrupt cop McKinney (Art Lund, Junior Jackson's Dad in 'The Last American Hero'), a man he has a long history with. The supporting cast in this one is really strong and also includes Julius Harris ('Superfly') as Gibbs' estranged father and D'Urville Martin ('Dolemite') as his childhood friend, the now Reverend Rufus. 'Black Caesar' is gritty, exciting and raw. Williamson's performance is unforgettable and the whole thing is brilliant entertainment. Highly recommended!
Veni, Vidi, Vici ... Tommy!
Coventry4 March 2014
This review's title obviously refers to a famous Julius Caesar quote, and personally I think the greatest thing about "Black Caesar" is the subtle title reference towards the great historical leader. I deliberately state "subtle" reference, because the name itself isn't mentioned anywhere throughout the entire film, but the similarities between protagonist Tommy Gibbs and the Roman emperor are clever and relevant. Tommy also builds his own way to the top; in this case the conquering of a mafia empire that quickly becomes as over sized, cluttered and unmanageable as the Roman Empire. His methods are also merciless and strategic, but he also gradually transforms into a dictator feared by his loved ones as well as the target of conspiracies and assassination attempts. I don't know about you, but I think it's quite an ambitious and intelligent concept for a supposedly simple and low-budgeted piece of 70's exploitation trash! That being said, I have to admit that I nevertheless expected even more from this blaxploitation classic. I'm certainly not an expert in this domain, but I've seen the most important ones ("Across 110th Street", "Ganja & Hess"), the most outrageously entertaining ones ("Foxy Brown", "Truck Turner") and the passable ones ("JD's Revenge", "Blackenstein"). "Black Caesar" somewhat balances between the first two categories, as the script isn't solid enough to be important and not cool enough to be outrageously entertaining. Basically it's just Fred Williamson looking mean and shooting white mobsters in the chest so that he can take their place in the New York gangster hierarchy. During this process he abuses and scares off the people he initially wanted to protect, like his mother and childhood friend. The film features too many dull parts and repetitive sequences. Every conflict is solved with a bullet and end with a close up of a dead body covered in thick and bright red blood syrup. The most memorable sequences include the intro, with a teenage Tommy enrolling the criminal life, a virulent taxi/on foot chase in busy NY streets and a sadist final confrontation between Tommy and his nemesis. Other terrific elements for exploitation fanatics to enjoy are the swinging soundtrack (with James Brown's unique voice) and authentically raw and gritty set pieces. Williamson is excellent, of course, but Art Lund gives an even more impressive performance as the disgustingly corrupt cop McKinney. Larry Cohen's direction is uneven, but it was one of the first ventures of this multi-talented and versatile cult genius. There's a sequel entitled "Hell Up in Harlem".
Larry Cohen does not miss an opportunity
tomgillespie20022 April 2012
Not one to miss on an opportunity, Larry Cohen's second feature film utilised the explosion of blaxploitation cinema after the successes of Sweet Sweetback's Baadasssss Song (1971) and Shaft (1971), and crafted his own "black" action film, modelled on the 1931 film Little Caesar. Fred Williamson plays the titular role, a boy from the streets, witnessing and being victim of brutality from the white community, and particularly a local police officer, McKinney (Art Lund). As an adult, Caesar's goal is to become kingpin of Harlem, and he won't let anything stand in his way.
The narrative is a story told over, which focuses on a person who looses everything in the pursuit of power, including childhood friends, wives, and particularly looses sight of the person that they are. It's always great to watch a Cohen movie from this period. When filming in the streets (in this case New York - of which is his usual setting), his guerilla-style is self evident: clearly in the making of these films, Cohen does not get any kind of permission to film, he simply turns up and does it. In one scene, Williamson has been shot, the camera follows him down the busy street from a roof top, and passers by seem to want to help him. It's these elements of exploitation cinema that I embrace.
Whilst this is certainly not one of Cohen's greatest (check out his horror output for some terrifically socio-political subtexts), the film oozes charm. Not only do we have the easy-cool of Fred Williamson, the film also has the ubiquitous Gloria Hendry , although not in her usual kung-fu-influenced fighting mode. Even though this film is less well known than Shaft or Superfly (1972), who's soundtracks were composed by soul giants Isaac Hayes and Curtis Mayfield respectively, Black Caesar's soundtrack is provided by the godfather of soul himself, James Brown: Break it down! Heeyyyyaa!!
www.the-wrath-of-blog.blogspot.com
The narrative is a story told over, which focuses on a person who looses everything in the pursuit of power, including childhood friends, wives, and particularly looses sight of the person that they are. It's always great to watch a Cohen movie from this period. When filming in the streets (in this case New York - of which is his usual setting), his guerilla-style is self evident: clearly in the making of these films, Cohen does not get any kind of permission to film, he simply turns up and does it. In one scene, Williamson has been shot, the camera follows him down the busy street from a roof top, and passers by seem to want to help him. It's these elements of exploitation cinema that I embrace.
Whilst this is certainly not one of Cohen's greatest (check out his horror output for some terrifically socio-political subtexts), the film oozes charm. Not only do we have the easy-cool of Fred Williamson, the film also has the ubiquitous Gloria Hendry , although not in her usual kung-fu-influenced fighting mode. Even though this film is less well known than Shaft or Superfly (1972), who's soundtracks were composed by soul giants Isaac Hayes and Curtis Mayfield respectively, Black Caesar's soundtrack is provided by the godfather of soul himself, James Brown: Break it down! Heeyyyyaa!!
www.the-wrath-of-blog.blogspot.com
Larry Cohen - my kinda guy
e_tucker5 June 2007
Warning: Spoilers
Say what you will about Larry Cohen, for me he is the sui generis of maverick, grindhouse directors. He is my urban guerrilla film maker of choice. Who else shoots all over NYC without permits, unleashing wounded Harlem kingpins on unsuspecting midday shoppers on 5th Avenue, or racing cabs down NYC sidewalks with thugs in hot pursuit, on foot no less? Although he has been slotted in the grindhouse and cult categories, Cohen doesn't really belong in either, mixing classic Hollywood b-unit gangster formula and 1970s blaxploitation, with a healthy measure of social comment bludgeoned in.
BC is a well-known tale of the rise and fall of a crime boss that follows the conventions of it's namesake, Little Caesar. It's protagonist, played by a convincing and charismatic Fred Williamson, wants power, revenge and some social and economic justice for the people of Harlem. He gets it, by Bogarting his way into the confidence of a local Mafia boss, blackmailing corrupt city officials into submission and siphoning some of his ill-gotten gains into legitimate black owned business. But as his ambition and power grow, so does the hatred of his enemies and the alienation of his family, girlfriend and allies. Like Caesar, he is headed for a fall, but unlike Rico, it's a fall that grandstands it's way across Manhattan in broad daylight, even making a pit stop for a little well earned payback, culminating, surprisingly in a homage to Buñuel.
If you like slick and polished, don't look here. As cheap as a low budget film can get, Cohen used his own basement and his mom's house as sets, and every time he comes up with an expensive car, I wonder who he borrowed it from. But his best set is great, a raw, gritty and unsuspecting NYC of the early 70s. The acting is sometimes sub-par or over-the-top (this fits though) but often good, especially by Gloria Hendry, girlfriend (who we don't see enough of), Julius Harris, estranged Dad, Minnie Gentry, Mama Gibbs and Williamson best of all. The soundtrack, by the Godfather himself, James Brown, is perfect, and probably the best of any film of this genre.
BC is a well-known tale of the rise and fall of a crime boss that follows the conventions of it's namesake, Little Caesar. It's protagonist, played by a convincing and charismatic Fred Williamson, wants power, revenge and some social and economic justice for the people of Harlem. He gets it, by Bogarting his way into the confidence of a local Mafia boss, blackmailing corrupt city officials into submission and siphoning some of his ill-gotten gains into legitimate black owned business. But as his ambition and power grow, so does the hatred of his enemies and the alienation of his family, girlfriend and allies. Like Caesar, he is headed for a fall, but unlike Rico, it's a fall that grandstands it's way across Manhattan in broad daylight, even making a pit stop for a little well earned payback, culminating, surprisingly in a homage to Buñuel.
If you like slick and polished, don't look here. As cheap as a low budget film can get, Cohen used his own basement and his mom's house as sets, and every time he comes up with an expensive car, I wonder who he borrowed it from. But his best set is great, a raw, gritty and unsuspecting NYC of the early 70s. The acting is sometimes sub-par or over-the-top (this fits though) but often good, especially by Gloria Hendry, girlfriend (who we don't see enough of), Julius Harris, estranged Dad, Minnie Gentry, Mama Gibbs and Williamson best of all. The soundtrack, by the Godfather himself, James Brown, is perfect, and probably the best of any film of this genre.
Shouldn't be so cool but it is.
susansweb22 November 2004
A low budget remake of "Little Caesar" with a scene from "Scarface" thrown in should not be this enjoyable. Credit two people: star Fred Williamson and writer/director,Larry Cohen. In Williamson's hands, Tommy Gibbs is a magnetic presence. He is very cool and smart. His success is no surprise but also his downfall is no surprise. How he turns could have been overplayed or understated for an actor with more ego. The scene was necessary and effective because in the end this movie was not about glamorizing gangsters. Cohen's contributions are also significant. He understood he wasn't making a message film, even though the message is there. The movie is full of bloody violence (it seemed to me that during the pool massacre, some of the victims were spouting blood before they were shot) because that was what fans of this genre wanted. In the end, however, viewers see that even with James Brown blaring about what a bad mutha Tommy Gibbs was, he was just as much a pawn as everyone else. Of course, the sequel would change that thought.
Black Exploitation Classics
Captain_Couth3 February 2005
Black Caesar (1973) is a star vehicle for former pro football star Fred Willamson. He portrays the aforementioned title character. A no nonsense street thug who rises to the top of his profession and he'll do what ever he can to keep his position of power. Neither his wife, his shady preacher brother nor his partners in crime can keep him from being the king pin of New York. Will he do what he has to do to stay in power or will he become just another flash in the pan?
The writing and direction from Larry Cohen works and the music by James Brown is perfect for this film. Fred Williamson plays his role well, after this film he continued to star in similar roles (but not as dark). He also learned film making from Larry Cohen as well. The two were such a perfect team that they just had to make a sequel, Hell Up In Harlem. But there's one thing missing from the second part. No James Brown. I guess he didn't want to work for free. A shame really because he wrote a whole soundtrack for the moving, including "The Big Payback".
Recommended for fans of this genre, others need not apply.
The writing and direction from Larry Cohen works and the music by James Brown is perfect for this film. Fred Williamson plays his role well, after this film he continued to star in similar roles (but not as dark). He also learned film making from Larry Cohen as well. The two were such a perfect team that they just had to make a sequel, Hell Up In Harlem. But there's one thing missing from the second part. No James Brown. I guess he didn't want to work for free. A shame really because he wrote a whole soundtrack for the moving, including "The Big Payback".
Recommended for fans of this genre, others need not apply.
Predictable and poorly made
preppy-315 May 2007
Movie starts out in 1953 where we see young black Tommy Gibbs doing jobs for the mob. He starts developing his own little gang. As he gets older (and becomes Fred Williamson) he works his way into the white mob--even though they don't want "ni**ers" (as they say throughout the film). Then he steals some damaging ledgers and uses it to run crime in the city, help black people and keep the evil white people at bay. But the white guys in the mob aren't about to give up...
Perhaps I'm not the best person to review a Larry Cohen movie--he's the producer, writer and director of this. I've never liked any of his movies and he makes really bad low budget films (unlike Roger Corman who makes good ones). This one is full of goofs--I love it when you hear a baby crying on the soundtrack but you can clearly see that the baby isn't making a sound! This is full of bad dialogue and has a very predictable script. This is the type of gangster film Hollywood was making in the 1930s--it's just done with black characters now. The movie also contains plenty of swearing and some pretty graphic bloody violence. Also I can't think of any film I've ever seen that has such a negative view of women--they're either vicious witches, use sex to get what they want or are slapped around left and right. It doesn't help at all that Gloria Hendry (the main victim) gives a terrible performance.
To be truthful I was struggling to stay awake. The bursts of violence helped and Williamson is tall, handsome and pretty good in the title role. But the technical goofs (there are plenty) and the by the numbers story got annoying. Poorly made on a low budget. Check out "Foxy Brown", "Coffy" or "Blacula" for a good blaxploitation film.
Perhaps I'm not the best person to review a Larry Cohen movie--he's the producer, writer and director of this. I've never liked any of his movies and he makes really bad low budget films (unlike Roger Corman who makes good ones). This one is full of goofs--I love it when you hear a baby crying on the soundtrack but you can clearly see that the baby isn't making a sound! This is full of bad dialogue and has a very predictable script. This is the type of gangster film Hollywood was making in the 1930s--it's just done with black characters now. The movie also contains plenty of swearing and some pretty graphic bloody violence. Also I can't think of any film I've ever seen that has such a negative view of women--they're either vicious witches, use sex to get what they want or are slapped around left and right. It doesn't help at all that Gloria Hendry (the main victim) gives a terrible performance.
To be truthful I was struggling to stay awake. The bursts of violence helped and Williamson is tall, handsome and pretty good in the title role. But the technical goofs (there are plenty) and the by the numbers story got annoying. Poorly made on a low budget. Check out "Foxy Brown", "Coffy" or "Blacula" for a good blaxploitation film.
"Everybody's a liberal nowadays."
morrison-dylan-fan3 November 2015
Warning: Spoilers
Despite finding the chapter dedicated to him in Kim Newman's Nightmare Movies: Horror on Screen Since the 1960s to be very interesting,I have somehow never got round to seeing a title from auteur film maker Larry Cohen.Talking to a fellow IMDber about the Blaxploitation genre,I found out that Cohen's second movie was in the genre,which led to me getting ready to hail Larry Cohen's Caesar.
The plot-
1953:
After getting paid for helping out in a mob hit, Tommy Gibbs is sent to give corrupt cop McKinney his share. Claiming that he has been short changed and revealing himself to be deeply racist,McKinney beats Gibbs into a bloody pulp,and leaves him in hospital.
1965:
Ever since taking that beating,Gibbs has slowly built his presence on " the street." Learning that a "whites only" gang has put a wanted dead ad out for a rival gangster,Gibbs tracks down the mobster and kills him.Meeting up with the gang,Gibbs reveals that he killed their target due to their being no chance that the cops would suspect him working with a "whites only" mob. Pushing the gang to give him a reward for the killing,Gibbs is given 2 run-down streets to run.As he turns the broken streets around into money makers,Gibbs sets his sights on finally getting his revenge on McKinney.
View on the film:
Filmed on the streets of New York,writer/director Larry Cohen & cinematographer Fenton Hamilton give the title a grubby Film Noir appearance,as clipped whip-pans give the on-street violence a gripping,frantic mood,as Cohen's dashing camera moves catch the startled expressions of real New Yorkers finding themselves walking down Gibb's blood-ridden streets.Backed by a hip 'n funky James Brown score,Cohen blends Gibbs extravagant suits with a blunt force violent delivery,which go from leg breaking police beatings,to rival gangster being covered in burnt up gun wounds.
Spanning a period of more than 20 years,the screenplay by Cohen gives the first half a light-footed quickness,thanks to Gibbs taking on his battle to control the streets with a slick mix of harsh violence and alluring charisma.Whilst the change in atmosphere is pretty jarring,Cohen shows an impressive bravely in making his "hero" look as ugly as possible,with the haunting memory of Gibbs police beating leading to him rotting away in a Film Noir wasteland.
Smirking every time he sets his sights on Gibbs, Art Lund gives a great,gruff performance as McKinney,whose urge to kick Gibbs back down is always bubbling underneath.Taking on a role originally offered to Sammy Davis Jr, Fred Williamson gives a fantastic performance as Gibbs,thanks to Williamson giving Gibbs a firm swagger as he builds his empire,which starts to crumble as Williamson lights up Gibbs short-fuse,as rival gangs start setting their sights on seeing this "Little Caesar" fall.
The plot-
1953:
After getting paid for helping out in a mob hit, Tommy Gibbs is sent to give corrupt cop McKinney his share. Claiming that he has been short changed and revealing himself to be deeply racist,McKinney beats Gibbs into a bloody pulp,and leaves him in hospital.
1965:
Ever since taking that beating,Gibbs has slowly built his presence on " the street." Learning that a "whites only" gang has put a wanted dead ad out for a rival gangster,Gibbs tracks down the mobster and kills him.Meeting up with the gang,Gibbs reveals that he killed their target due to their being no chance that the cops would suspect him working with a "whites only" mob. Pushing the gang to give him a reward for the killing,Gibbs is given 2 run-down streets to run.As he turns the broken streets around into money makers,Gibbs sets his sights on finally getting his revenge on McKinney.
View on the film:
Filmed on the streets of New York,writer/director Larry Cohen & cinematographer Fenton Hamilton give the title a grubby Film Noir appearance,as clipped whip-pans give the on-street violence a gripping,frantic mood,as Cohen's dashing camera moves catch the startled expressions of real New Yorkers finding themselves walking down Gibb's blood-ridden streets.Backed by a hip 'n funky James Brown score,Cohen blends Gibbs extravagant suits with a blunt force violent delivery,which go from leg breaking police beatings,to rival gangster being covered in burnt up gun wounds.
Spanning a period of more than 20 years,the screenplay by Cohen gives the first half a light-footed quickness,thanks to Gibbs taking on his battle to control the streets with a slick mix of harsh violence and alluring charisma.Whilst the change in atmosphere is pretty jarring,Cohen shows an impressive bravely in making his "hero" look as ugly as possible,with the haunting memory of Gibbs police beating leading to him rotting away in a Film Noir wasteland.
Smirking every time he sets his sights on Gibbs, Art Lund gives a great,gruff performance as McKinney,whose urge to kick Gibbs back down is always bubbling underneath.Taking on a role originally offered to Sammy Davis Jr, Fred Williamson gives a fantastic performance as Gibbs,thanks to Williamson giving Gibbs a firm swagger as he builds his empire,which starts to crumble as Williamson lights up Gibbs short-fuse,as rival gangs start setting their sights on seeing this "Little Caesar" fall.
A highly entertaining but very adult blaxploitation film
planktonrules22 October 2008
Warning: Spoilers
BLACK CAESAR is one of the better so-called blaxploitation films I have seen. Compared to most films in this genre, the production values are much better--with a decent performance by Fred Williamson and a very good, but violent, script to assist him.
The film begins with a kid taking a bribe to a corrupt cop. The amount is short and the sadistic White cop beats the Black child severely--sending him to the hospital and filling the kid with a desire for revenge. Years pass and this kid turns out to be Fred Williamson--a tough ex-con who has visions of being a mob boss. Through mob contracts, he's able to ingratiate himself to the prejudiced Italian boss. With so many racial slurs going his way, you just know that eventually Williamson is going to give this man and the rest of his White friends their "comeuppance"--though in the meantime, he carves out a little piece of the mob pie for himself.
Eventually, of course, Williamson is the leader of the mob and now he has to work with the same cop who beat him years earlier. This is because the cop is now the police captain. You know that Williamson must one day pay him back, but you also know that he might just die in the process! Exciting, well-paced and interesting throughout. The only shortcoming I really see in the film is its frequent nudity, adult content (Williamson rapes his girlfriend) and all the blood. Additionally, the ending of the film doesn't really fit in with the fact that there was a sequel to BLACK CAESAR--a rather unnecessary and contradictory idea indeed.
The film begins with a kid taking a bribe to a corrupt cop. The amount is short and the sadistic White cop beats the Black child severely--sending him to the hospital and filling the kid with a desire for revenge. Years pass and this kid turns out to be Fred Williamson--a tough ex-con who has visions of being a mob boss. Through mob contracts, he's able to ingratiate himself to the prejudiced Italian boss. With so many racial slurs going his way, you just know that eventually Williamson is going to give this man and the rest of his White friends their "comeuppance"--though in the meantime, he carves out a little piece of the mob pie for himself.
Eventually, of course, Williamson is the leader of the mob and now he has to work with the same cop who beat him years earlier. This is because the cop is now the police captain. You know that Williamson must one day pay him back, but you also know that he might just die in the process! Exciting, well-paced and interesting throughout. The only shortcoming I really see in the film is its frequent nudity, adult content (Williamson rapes his girlfriend) and all the blood. Additionally, the ending of the film doesn't really fit in with the fact that there was a sequel to BLACK CAESAR--a rather unnecessary and contradictory idea indeed.
This Caesar Comes To Bury You
sol121829 August 2004
****SPOILERS**** Stylish and brutal "Black Caesar" is also a bit over-the-top in it's depiction of a Harlem hood working himself up to the top of the New York City mob syndicate and then losing it all in what seems like a matter of weeks if not days.Fred Williamson is at his all time baddest best as the super cool cat Tommy Gibbs the Harlem gangster with the heart of gold and fists of steel who takes on the Mafia with his brawn's and the crooked police and politicians with his brains and just when he's got it all blows it down the drain.
Captain McKinney, Art Lund, who gave Tommy when he was 14 years-old the nickname "Limpy", by busting his kneecap with his police nightstick, tries to do Tommy in by getting his former girlfriend Helen, Gloria Hendry, to steal a safe-deposit key from him. The key opens a box that contains the both explosive and incriminating Goosic ledgers that Tommy ripped off from Goosic's office when he was reviewing them. Goosic a top bag-man for the corrupt cops and politicians has a record of all the pay-offs that they got from the mob and elsewhere through the years. Tommy is using that information to blackmail McKinney, and all those corrupt officials in them, to keep the heat off him and keep him alive as well.
Later getting shot on a mid-town street Tommy kills the hood who shot him and escapes from McKinney's men by jumping into a taxi and then goes to Coleman, William Wellman,his back-stabbing lawyer's office. Coleman turned out to be murdered by McKinney in order for him to get his hands on the Goosic ledgers after he, Coleman, doubled-crossed his client Tommy by giving them to McKinney. McKinney plans to pin the murder of Coleman on Tommy,to cover up his crime! In short McKinney double-crossed the double-crosser, Coleman, to frame the double-crossed,Tommy, with a murder rap.
McKinney instead of killing Tommy when he surprises him at Coleman's office forces him it spit-shine his shoes, now that's really rubbing it in. Tommy knocking his gun out of his hand paints McKinney's face with shoe polish and forces him to sing "Mammy", McKinney's singing is plain horrible, before he smashed his head in with the shoe-shine box killing him. Still badly wounded Tommy goes to his old neighborhood in Harlem and is attacked by a gang of young toughs, Tommy Gibbs wannabes, but survives the ordeal to make a sequel to the movie "Black Caesar": "Hell up in Harlem".
The most unusual aspect about the film "Black Caesar" is that it was so successful that it spawned a sequel the same year, 1973, that it was released. Even though "Black Caesar" was to take place at the time that it was made and we see at the end of the movie a date, as if it had great historic and momentous significance, which flashed on the screen against the New York City skyline as being August 20, 1972? What exactly was that day supposed to be in world history?
In the "Black Casear" sequel "Hell up in Harlem" were shown in the movie that most of the events takes place two or three years into the future or in 1975 and 1976 not 1973 when the movie was made and released! It's as if the film were a sci-fi not crime movie! Now how's that for keeping the right time!
Captain McKinney, Art Lund, who gave Tommy when he was 14 years-old the nickname "Limpy", by busting his kneecap with his police nightstick, tries to do Tommy in by getting his former girlfriend Helen, Gloria Hendry, to steal a safe-deposit key from him. The key opens a box that contains the both explosive and incriminating Goosic ledgers that Tommy ripped off from Goosic's office when he was reviewing them. Goosic a top bag-man for the corrupt cops and politicians has a record of all the pay-offs that they got from the mob and elsewhere through the years. Tommy is using that information to blackmail McKinney, and all those corrupt officials in them, to keep the heat off him and keep him alive as well.
Later getting shot on a mid-town street Tommy kills the hood who shot him and escapes from McKinney's men by jumping into a taxi and then goes to Coleman, William Wellman,his back-stabbing lawyer's office. Coleman turned out to be murdered by McKinney in order for him to get his hands on the Goosic ledgers after he, Coleman, doubled-crossed his client Tommy by giving them to McKinney. McKinney plans to pin the murder of Coleman on Tommy,to cover up his crime! In short McKinney double-crossed the double-crosser, Coleman, to frame the double-crossed,Tommy, with a murder rap.
McKinney instead of killing Tommy when he surprises him at Coleman's office forces him it spit-shine his shoes, now that's really rubbing it in. Tommy knocking his gun out of his hand paints McKinney's face with shoe polish and forces him to sing "Mammy", McKinney's singing is plain horrible, before he smashed his head in with the shoe-shine box killing him. Still badly wounded Tommy goes to his old neighborhood in Harlem and is attacked by a gang of young toughs, Tommy Gibbs wannabes, but survives the ordeal to make a sequel to the movie "Black Caesar": "Hell up in Harlem".
The most unusual aspect about the film "Black Caesar" is that it was so successful that it spawned a sequel the same year, 1973, that it was released. Even though "Black Caesar" was to take place at the time that it was made and we see at the end of the movie a date, as if it had great historic and momentous significance, which flashed on the screen against the New York City skyline as being August 20, 1972? What exactly was that day supposed to be in world history?
In the "Black Casear" sequel "Hell up in Harlem" were shown in the movie that most of the events takes place two or three years into the future or in 1975 and 1976 not 1973 when the movie was made and released! It's as if the film were a sci-fi not crime movie! Now how's that for keeping the right time!
Decent Gangster
Michael_Elliott9 April 2008
Black Caesar (1973)
** 1/2 (out of 4)
Classic blaxploitation film has Fred Williamson taking on all the crime bosses trying to make it to the top. However, as we all know, once you're at the top there's only one place left to go. I've heard a lot about this blaxploitation film over the years so I was happy to finally get to see it but in the end there's nothing too original here to keep it highly entertaining throughout. I think the biggest problem is that we've seen this type of gangster story countless times before and this one even borrows from some classic gangster films like Scarface and Angels with Dirty Faces. Those homages are fun but the film starts to wear out in the final half hour, although things do pick up for the exciting ending. Williamson turns in a fine performance in the title role and he really was one of the classics of the genre. His tough talk and cool style fit the genre perfectly and director Cohen really knew how to use him. There's all the typical stuff from this genre including the racist whites, cool talk and this one even features a terrific opening song from James Brown. The best scene in the movie is the one where Williamson confronts his father who left him as a child.
** 1/2 (out of 4)
Classic blaxploitation film has Fred Williamson taking on all the crime bosses trying to make it to the top. However, as we all know, once you're at the top there's only one place left to go. I've heard a lot about this blaxploitation film over the years so I was happy to finally get to see it but in the end there's nothing too original here to keep it highly entertaining throughout. I think the biggest problem is that we've seen this type of gangster story countless times before and this one even borrows from some classic gangster films like Scarface and Angels with Dirty Faces. Those homages are fun but the film starts to wear out in the final half hour, although things do pick up for the exciting ending. Williamson turns in a fine performance in the title role and he really was one of the classics of the genre. His tough talk and cool style fit the genre perfectly and director Cohen really knew how to use him. There's all the typical stuff from this genre including the racist whites, cool talk and this one even features a terrific opening song from James Brown. The best scene in the movie is the one where Williamson confronts his father who left him as a child.
Cohen Does Blaxploitation
gavin69425 August 2013
Tommy Gibbs (Fred Williamson) is a tough kid, raised in the ghetto, who aspires to be a kingpin criminal. As a young boy, his leg is broken by a bad cop on the take, during a payoff gone bad. Nursing his vengeance, he rises to power in Harlem, New York. Angry at the racist society around him, both criminal and straight, he sees the acquisition of power as the solution to his rage.
Whether you want to call this a blaxploitation film or not is up to you. Fred Williamson was the master of the genre and the master of the 1970s, and he dominates this picture as Caesar. The action never stops for this smooth pimp.
I especially love that Larry Cohen was the writer, producer and director. First of all, because Cohen is one of the greatest creators of quirky films in cult history. But also because Cohen is pretty much the whitest guy you will ever meet.
Whether you want to call this a blaxploitation film or not is up to you. Fred Williamson was the master of the genre and the master of the 1970s, and he dominates this picture as Caesar. The action never stops for this smooth pimp.
I especially love that Larry Cohen was the writer, producer and director. First of all, because Cohen is one of the greatest creators of quirky films in cult history. But also because Cohen is pretty much the whitest guy you will ever meet.
Classic Blaxploitation
SnoopyStyle6 October 2017
In 1953, young Tommy Gibbs helps a mobster kill his target and then later beaten by a crooked cop. He spends time in prison and in 1965, Tommy (Fred Williamson) takes on a contract from mob boss Cardoza without authority. He convinces Cardoza to give him one full block in exchange for being their secret kill squad. He slowly gains power and influence bringing him in conflict with the ruling Mafia.
This remake is surprisingly good. It is violent. Williamson is iconic. The story telling is a bit disjointed. The barbershop scene has some scary violence. The shaky hand with a straight razor is very uncomfortable. There is a ground level edgy reality to all the scenes in Harlem. The most iconic scene is probably Tommy leaving Tiffany. It's obvious filmed guerrilla style. Many of the passerby seems clueless and confused by the action. It would be nice to do more with the other characters. There are great individual scenes like the mobster forcing Tommy to shine his shoe. This is high level blaxploitation.
This remake is surprisingly good. It is violent. Williamson is iconic. The story telling is a bit disjointed. The barbershop scene has some scary violence. The shaky hand with a straight razor is very uncomfortable. There is a ground level edgy reality to all the scenes in Harlem. The most iconic scene is probably Tommy leaving Tiffany. It's obvious filmed guerrilla style. Many of the passerby seems clueless and confused by the action. It would be nice to do more with the other characters. There are great individual scenes like the mobster forcing Tommy to shine his shoe. This is high level blaxploitation.
So accurate it's almost like a time capsule.
Anonymous_Maxine7 November 2006
Warning: Spoilers
Now, when I speak of the accuracy of this movie I am, of course, speaking either prophetically, I guess, or hypocritically, because I am neither black nor old enough to have been alive when it was made. Nonetheless, having had bad experiences with blaxploitation films (such as the astonishingly bad Sweet Sweetback's Badaassss Song), I recently saw an outstanding documentary called Badasss Cinema which really opened my eyes to this entire genre and taught me about the things that had previously caused me to sort of look down on some of the films. I have a tendency to pick movies apart when a lot of really little things bother me (the James Bond movies are particularly susceptible to this), and that happened in a major way in watching movies like Sheba, Baby, Coffy, and Black Mama, White Mama.
It was interesting to learn the history behind this genre, as well as the way it seemed to appear, become wildly popular, and then fizzle out with surprising speed. The genre's disappearance can largely, and not surprisingly, be blamed on Hollywood, for reasons which I'll leave to the above mentioned documentary to explain.
Armed with a new outlook on blaxploitation, I rented Black Caesar and was pleasantly and not so pleasantly surprised at the same time, strangely enough. It is not surprising that a blaxploitation film almost named after one of the first gangster films ever made , Little Caesar would attempt to resemble the most famous gangster film of all time, which was released the year before.
The infamous Fred Williamson plays the part of Tommy Gibbs, a hardened youth who grew up with an intense desire to firmly establish himself as a force to be reckoned with on the streets. He finds tremendous success, and the movie moves forward making intense sociological statements about the plight of black people in early 1970s America. Unfortunately, as the movie goes on it dissolves into more and more ham-handed lashes out at white people in general, especially that favorite blaxploitation scapegoat, the White Cop, or the White Guy in Suit.
While the African American community certainly had, and still has, in many ways, a lot to lash out and to be resentful about, it was really sad to see such a smart and well made film resort to contriving situations between Gibbs and white people who were so outwardly racist and brutal toward him just for the sake of setting themselves up for his revenge. The shoe-polish scene near the end of the film, as well as the ear scene relatively early in the film are prime examples.
(possible spoiler) On a more subtle note, it is also noteworthy that a great length of time is spent showing Gibbs staggering through the streets of New York at the end of the movie because of a gunshot wound. This takes place in broad daylight and not a single person tries to help him, offers to call the police, or even so much as puts a hand over their mouth in sorrow or sympathy.
I really enjoyed Black Caesar and I think it's one of the better blaxploitation films that came out of the 1970s. But you can certainly scratch subtlety off of its list of successes.
It was interesting to learn the history behind this genre, as well as the way it seemed to appear, become wildly popular, and then fizzle out with surprising speed. The genre's disappearance can largely, and not surprisingly, be blamed on Hollywood, for reasons which I'll leave to the above mentioned documentary to explain.
Armed with a new outlook on blaxploitation, I rented Black Caesar and was pleasantly and not so pleasantly surprised at the same time, strangely enough. It is not surprising that a blaxploitation film almost named after one of the first gangster films ever made , Little Caesar would attempt to resemble the most famous gangster film of all time, which was released the year before.
The infamous Fred Williamson plays the part of Tommy Gibbs, a hardened youth who grew up with an intense desire to firmly establish himself as a force to be reckoned with on the streets. He finds tremendous success, and the movie moves forward making intense sociological statements about the plight of black people in early 1970s America. Unfortunately, as the movie goes on it dissolves into more and more ham-handed lashes out at white people in general, especially that favorite blaxploitation scapegoat, the White Cop, or the White Guy in Suit.
While the African American community certainly had, and still has, in many ways, a lot to lash out and to be resentful about, it was really sad to see such a smart and well made film resort to contriving situations between Gibbs and white people who were so outwardly racist and brutal toward him just for the sake of setting themselves up for his revenge. The shoe-polish scene near the end of the film, as well as the ear scene relatively early in the film are prime examples.
(possible spoiler) On a more subtle note, it is also noteworthy that a great length of time is spent showing Gibbs staggering through the streets of New York at the end of the movie because of a gunshot wound. This takes place in broad daylight and not a single person tries to help him, offers to call the police, or even so much as puts a hand over their mouth in sorrow or sympathy.
I really enjoyed Black Caesar and I think it's one of the better blaxploitation films that came out of the 1970s. But you can certainly scratch subtlety off of its list of successes.
A classic.
stupid_fresh13 April 2003
Warning: Spoilers
This film is great. Immortalised by Public Enemy, Big Daddy Kane and Ice Cube on "Burn Hollywood, Burn" from the Fear Of A Black Planet LP, as soon as I heard Driving Miss Daisy being rejected for Black Caesar (listen to the track, you'll understand) I knew that I had to see this film. After all, if it's good for three of my favourite rap artists then it's good enough for me, right?
So I saw a copy in Bedford while I was doing my teacher training course, and me and my mate Jai went back to the place we were staying at and watched it. I was spellbound - it is one of the best Black aimed films that I own! (I don't like the term 'Blaxploitation'. Have you noticed that there doesn't seem to be an official 'Whitesploitation' genre?)
OOH ARR BOOOYEEEE, SPOILERS BEEEEELOW.
Anyway, for those that are interested in a review of the film rather than my personal beliefs, the film concerns Tommy Gibbs, a Black gangster who gets a job for the local Mob after a nifty killing in a barber shop. (This comes after an excellent beginning that sees him assist in the murder of a gangster in the middle of a crowded street.) It charts his rise and fall... much in the manner of Scarface (either version). As Larry Cohen says in his DVD commentary, it's more of a Black version of the old 1940s gangster films than it is a straight up exploitation piece like Slaughter or Black Gunn. I won't go into much detail as I urge you all to watch it, but I might add a couple of trivial points: you should watch it back to back with the sequel - Hell Up In Harlem. If you do, though, bear in mind that the print that survives has a substantially different ending. I say no more.
Watch this film - it is truly a classic.
So I saw a copy in Bedford while I was doing my teacher training course, and me and my mate Jai went back to the place we were staying at and watched it. I was spellbound - it is one of the best Black aimed films that I own! (I don't like the term 'Blaxploitation'. Have you noticed that there doesn't seem to be an official 'Whitesploitation' genre?)
OOH ARR BOOOYEEEE, SPOILERS BEEEEELOW.
Anyway, for those that are interested in a review of the film rather than my personal beliefs, the film concerns Tommy Gibbs, a Black gangster who gets a job for the local Mob after a nifty killing in a barber shop. (This comes after an excellent beginning that sees him assist in the murder of a gangster in the middle of a crowded street.) It charts his rise and fall... much in the manner of Scarface (either version). As Larry Cohen says in his DVD commentary, it's more of a Black version of the old 1940s gangster films than it is a straight up exploitation piece like Slaughter or Black Gunn. I won't go into much detail as I urge you all to watch it, but I might add a couple of trivial points: you should watch it back to back with the sequel - Hell Up In Harlem. If you do, though, bear in mind that the print that survives has a substantially different ending. I say no more.
Watch this film - it is truly a classic.
The mambo gets a bit of soul.
mark.waltz12 January 2022
Warning: Spoilers
Fun blaxploitation from the 70's is a better mafia movie than "American Mobster", a fictional yalw of how young mob runner Tommy Gibbs (Fred Williamson) ends up hitman for the Sicilians, eventually taking over the whole canoli. He's victimized as a youngster by evil cop on the take Art Lund. Going from teen with his broken legs in a cast to hit man, he's violent in business yet charming in life, playing up to the big Sicilian bosses while biding his time for the big payoff, and when it happems, the big kahuna is in tears begging for mercy but vowing revenge. The next thing you know he's having all the other Sicilian mob associates rubbed out at a pool party and even confronts the father who abandoned him and his mother. The parallels to real life Harlem mob boss Frank Lucas is obvious, but this is fictional outside of the racial and occupational coincidences.
It's rather nostalgic to see the Harlem of the 1970's as it really was, not some backlit vision of what they make it appear to be. Gloria Hendry is beautiful as Williamson's love interest, and Julius Harris is excellent as Williamson's father, filled with regrets. Veteran stage actress Minnie Gentry, as his long suffering mother, is really touching, equally as moving as Ruby Dee was as Denzel Washington's mother was in "American Gangster". I can see why they wanted a sequel to this ("Hell up in Harlem", not as good but a guilty pleasure of mine), so I'm glad they change the ending. Good direction by Larry Cohen and nice to see the nasty racist cop Lund taken care of of appropriately. This is stylish, subtle and fast moving, even with the violence. A well done mob movie that is much more than just a typical blaxploitation cult film.
It's rather nostalgic to see the Harlem of the 1970's as it really was, not some backlit vision of what they make it appear to be. Gloria Hendry is beautiful as Williamson's love interest, and Julius Harris is excellent as Williamson's father, filled with regrets. Veteran stage actress Minnie Gentry, as his long suffering mother, is really touching, equally as moving as Ruby Dee was as Denzel Washington's mother was in "American Gangster". I can see why they wanted a sequel to this ("Hell up in Harlem", not as good but a guilty pleasure of mine), so I'm glad they change the ending. Good direction by Larry Cohen and nice to see the nasty racist cop Lund taken care of of appropriately. This is stylish, subtle and fast moving, even with the violence. A well done mob movie that is much more than just a typical blaxploitation cult film.
There Are Better Films Out There
damianphelps3 May 2023
Perhaps one of the better Blaxploitation movies but as a general film its a bit of a miss.
The action never really goes anywhere much like the plot.
It has all the elements of a BP movie, the language, boobs and all the caricatures that belong in the genre but they aren't over the top enough to make it a Blaxploitation winner.
I've been pumpin my way through some Blaxploitation movies lately and have formed the opinion that if I had to choose between Jim Brown, Fred Williamson or Jim Kelly, then hands down I'm a Jim Brown man. He is just more convincing than the other two, especially Kelly who seems to be stuck inside a bad Bruce Lee impression :)
The action never really goes anywhere much like the plot.
It has all the elements of a BP movie, the language, boobs and all the caricatures that belong in the genre but they aren't over the top enough to make it a Blaxploitation winner.
I've been pumpin my way through some Blaxploitation movies lately and have formed the opinion that if I had to choose between Jim Brown, Fred Williamson or Jim Kelly, then hands down I'm a Jim Brown man. He is just more convincing than the other two, especially Kelly who seems to be stuck inside a bad Bruce Lee impression :)
A flawed but powerful film
johnathanfrost26 July 2014
This is one of those films that not just made Fred Williamson a star but also a iconic figure in the early 1970s. The film does have some flaws such as the acting which to me had many mediocre moments but the film had many great moments that were believable and authentic. I also love Larry Cohen's approach to the film in the 1930's Warner Bro's gangster film fashion which is not to me a bad thing. The thing I loved the most about this particular film was its use of violence and how ugly and horrible it really is but in my personal opinion this a flawed but powerful gangster film that I consider a classic of the genre and a very memorable piece of film making by Larry Cohen.
Larry Cohen plus James Brown with Fred Williamson equals 7 stars
rokcomx13 April 2009
Warning: Spoilers
I've only seen a few vintage "blaxploitation" films, so tonight I'm watching Black Caesar (1973), of interest to me because it was written, directed and produced by ol' Larry Cohen, just a couple years before his inexplicable masterpiece God Told Me To, with the outer space Jesus and the vagina on his chest...that Larry, madman with a camera...
Right from the start, the music is top notch! Mainly James Brown, but there's also a cool female-fronted song a girl performs while Fred Williamson shoots up a room fulla white folks. Williamson is probably the only good actor in the whole film, but who can read Larry Cohen's dialogue, in any movie, and come off sounding real. All his movies have such cartoony dialogue, but that's part of the charm of his stuff (other than Q and a coupla others just too awful to recall).
Most of the characters in Black Caesar are hollow and soul-less anyway, so the junior high acting doesn't distract. Williamson is good enough to make up for the others -
I really didn't know what to expect going into it, so it was pretty astonishing to see Williamson smear shoe polish on a guy and make him sing "Mammy"!! A Larry Cohen moment I'll certainly never forget ---
Despite all the grindhouse schlock - all of which I love! - there's a solid little story. The scenes with Williamson breaking his mom's heart and then facing off with his neglectful dad shows Cohen was going for more than machine guns and chase scenes. And, again, the music - wow! Even the most incidental bits of background music are smokin', and perfectly suited to the frequent NYC exteriors.
So now I've seen three or four blaxploitation flicks, and part of one other, Scream Blackula Scream, which was so bad that it caused me actual pain, so I shut it off...(for some reason, I can't handle anything with VooDoo, it freaks me out with all the animal mutilation and stuff, hence me never seeing Angel Heart, Serpent and the Rainbow, etc).
So far, Black Ceasar is the best I've seen of this genre ---
Right from the start, the music is top notch! Mainly James Brown, but there's also a cool female-fronted song a girl performs while Fred Williamson shoots up a room fulla white folks. Williamson is probably the only good actor in the whole film, but who can read Larry Cohen's dialogue, in any movie, and come off sounding real. All his movies have such cartoony dialogue, but that's part of the charm of his stuff (other than Q and a coupla others just too awful to recall).
Most of the characters in Black Caesar are hollow and soul-less anyway, so the junior high acting doesn't distract. Williamson is good enough to make up for the others -
I really didn't know what to expect going into it, so it was pretty astonishing to see Williamson smear shoe polish on a guy and make him sing "Mammy"!! A Larry Cohen moment I'll certainly never forget ---
Despite all the grindhouse schlock - all of which I love! - there's a solid little story. The scenes with Williamson breaking his mom's heart and then facing off with his neglectful dad shows Cohen was going for more than machine guns and chase scenes. And, again, the music - wow! Even the most incidental bits of background music are smokin', and perfectly suited to the frequent NYC exteriors.
So now I've seen three or four blaxploitation flicks, and part of one other, Scream Blackula Scream, which was so bad that it caused me actual pain, so I shut it off...(for some reason, I can't handle anything with VooDoo, it freaks me out with all the animal mutilation and stuff, hence me never seeing Angel Heart, Serpent and the Rainbow, etc).
So far, Black Ceasar is the best I've seen of this genre ---
Mosrly dull blaxpolitation flick
The_Void12 February 2008
I can't say I'm a fan of "Blaxploitation" films, and indeed this one is one of my very few forays into the genres. It didn't change my opinion much either; what we have here is basically a crime thriller along the same lines as Scarface, except most of the main players are black. The film appealed to me mainly because of the fact that it's written and directed by Larry Cohen who also wrote and directed some of my favourite low budget trash films; films such as It's Alive, The Stuff, Q and The Ambulance. This is an early Cohen film and it appears he didn't get much chance to refine his craft as despite a decent directional debut with 'Bone' a year earlier; this film mostly fits the 'trash' bill in the bad way. The lead character is Tommy Gibbs, who starts off a young kid and gets his leg broken by a copper during a robbery. He's not best pleased and upon his return several years later, he decides to rise to power himself in order to put up a fight against the powers that stand already; both the criminal and the law enforcement.
Aside from the fact that the film didn't appeal to me much, it's also badly written and doesn't make up for in originality what it lacks in substance. As mentioned, I'm not well versed in this genre; but I imagine it's more about style than anything else and Larry Cohen does at least give the film a cool vibe that is well done. James Brown features heavily on the soundtrack and it works with the film, although the scenes involving "The Boss" only served in reminding me of how Lock, Stock and Two Smoking Barrels used the song much better. The lead role is taken by Fred Williamson and it does have to be said that he's one of the best things about the film. The central role in this film does require someone 'cool' to play it, and Williamson certainly is that person. The plot is a problem because it's never exactly difficult to tell where it's going and this results in the film not having a great deal of suspense. Cohen's script doesn't really make us care for the lead character either, which means it doesn't really matter where the film goes. This might appeal to fans of this genre but it hasn't made me want to see more it...I don't recommend this one.
Aside from the fact that the film didn't appeal to me much, it's also badly written and doesn't make up for in originality what it lacks in substance. As mentioned, I'm not well versed in this genre; but I imagine it's more about style than anything else and Larry Cohen does at least give the film a cool vibe that is well done. James Brown features heavily on the soundtrack and it works with the film, although the scenes involving "The Boss" only served in reminding me of how Lock, Stock and Two Smoking Barrels used the song much better. The lead role is taken by Fred Williamson and it does have to be said that he's one of the best things about the film. The central role in this film does require someone 'cool' to play it, and Williamson certainly is that person. The plot is a problem because it's never exactly difficult to tell where it's going and this results in the film not having a great deal of suspense. Cohen's script doesn't really make us care for the lead character either, which means it doesn't really matter where the film goes. This might appeal to fans of this genre but it hasn't made me want to see more it...I don't recommend this one.
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