The most influential, creative, and emotional blues singer from the 1930s to the early 1950s, Billie Holiday may have attracted a whole new generation of fans through this 1972 film biography. Though the film is not historically accurate about her life and her relationship with Louis McKay (played by Billie Dee Williams), it is effective in demonstrating the traumas of her early life, the color bar which prevented her from singing in many whites-only venues, her drug and alcohol addictions (which eventually led to her death at age forty-four of liver and heart disease), and the events which led to many of her most famous songs.
Diana Ross, as Billie, is passionate and driven, and her portrayal of Billie in the midst of drug withdrawal is heart-rending and effective. Playing the role "full out," Ross deals with the script she has been given, and she richly deserves her Golden Globe Award for Most Promising Female Newcomer in this screen debut. A consortium of scriptwriters, which drew on the frank, but partly fictionalized, autobiography Billie wrote with William Dufty in 1956, has omitted or changed many aspects of her life in order to make the film more unified and dramatic, creating a film that creates even more myths about Billie.
Billy Dee Williams is terrific as Louis McKay, appearing slick and smooth at the beginning, but showing subtle changes of feeling as he is drawn into Billie's orbit and provides some stability for her. The accompanist (Richard Pryor) seems genuinely to care for her, as, it seems, does Reg Hanley (James T. Callahan), though the reasons Harry Bradford (Paul Hampton) has for getting her hooked on drugs is not clear. Ross is surprisingly good when she sings Billie's songs, copying her phrasing and creating a sound that somewhat resembles hers, though Billie's gutsy heart is missing.
Nominated for Best Actress (Diana Ross), Set Decoration and Art Direction, Costumes (Bob Mackie), Best Music/Scoring, and Best Story and Screenplay, this is a dramatic and showy film about a singing legend's tragic life, but it is more entertainment than biography, especially in its emphasis on the Reg Hanley band. Though one would not know this from the film, Teddy Wilson, Benny Goodman, Duke Ellington, and Count Basie also played important roles in Billie's career.
Brutality and sexual obsession and slavery in the old south provudes the basis of the exploitation drama that begins when a plantation owner begins lusting one of his female slaves
The second sequel to the hit Shaft, this film 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 VHS & DVD
Rated:R Not for sale to persons under age 18
Gordon Parks 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 (e.g., 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 this movie did.
This movie, a sequel to The Legend of Nigger Charlie, tells the story of a Southern colonel in the Civil War who has raided locations in the North in order to capture renegade slaves for a colony of Southern aristocrats living in Mexico.
Escaped slave Charley (Fred Williamson) and his friend and fellow escapee Toby (D'Urville Martin) bend all their energies to freeing the 71 blacks captured by the colonel.
In the violence that follows, the Southern cause suffers.
Alfre Woodard narrates the chronicle of 53 Africans who were abducted from Sierra Leone in 1839 and sold into slavery in violation of international law.
Once on board the schooner La Amistad, the Africans revolted and were finally captured near Long Island where they were charged with piracy and murder.
