SHAFT (1971) Movie Reaction | First Time Watch | Richard Roundtree, Moses Gunn, Christopher St. John
Quick Read
Summary
Takeaways
- ❖The original 'Shaft' (1971) is part of a larger franchise, including two sequels and two films starring Samuel L. Jackson.
- ❖The film's opening sequence effectively establishes Shaft's character as a 'private dick that's a sex machine to all the chicks' and his independent nature.
- ❖Hosts noted the film's 'time capsule' quality, capturing the raw essence of 1970s New York life and street interactions.
- ❖The cinematography, with its dark contrasts and strategic silhouetting, contributes to an 'artsy' and 'noir' atmosphere, rather than appearing low-budget.
- ❖The use of ADR (Automated Dialogue Replacement) was extensive, but well-executed, contributing to the film's on-location feel.
- ❖'Shaft' is primarily a detective movie with slower pacing, rather than a pure action film, a common characteristic of its era's thrillers.
- ❖Isaac Hayes' theme song for 'Shaft' won an Academy Award and became a cultural anthem, uniquely describing the film's hero.
- ❖The film's portrayal of background characters as 'normal people' rather than 'actors' enhanced its realism, a stark contrast to modern film aesthetics.
- ❖Shaft's character was a radical departure for black men in mainstream Hollywood, depicting him as financially independent, physically dominant, and not subordinate to white authority.
- ❖The relationship between Shaft and Lieutenant Vic Androsie was surprisingly supportive, with the white lieutenant respecting Shaft's methods and providing assistance.
- ❖The film subtly references Black Power groups, showcasing armed black militants negotiating power, which was significant for both white and black audiences.
- ❖Shaft's aggressive sexuality and multiple partners (both black and white) challenged stereotypes of desexualized black men and taboos around interracial relationships.
- ❖The 'snowflake' insult directed at Shaft by black characters was a loyalty test, implying he was too comfortable with white society or lacked political commitment.
- ❖Shaft embodies 'radical individualism,' operating outside specific movements or ideologies, which made him both cool and suspect within black communities of the time.
- ❖The film employs the 'John McClane effect,' showing the hero getting hurt and facing consequences, making him more vulnerable and relatable.
Insights
1Groundbreaking Portrayal of Black Masculinity and Agency
In 1971, 'Shaft' presented a black protagonist, John Shaft, who was hyper-competent, sexually confident, financially independent, and not subservient to white authority. This depiction was a radical departure from previous Hollywood stereotypes of black men as servants, psychics, or comic relief, offering a liberating image for black audiences.
The hosts discuss how Shaft's character challenged two stereotypes: the desexualized black male servant and the taboo around interracial relationships. His interactions with white police, where he talks 'slick' without fear, were 'electrifying' and signaled 'I don't need your approval. I operate in your world, but I'm not beneath you.'
2Nuanced Political Undercurrents and Intra-Community Tensions
The film subtly integrated themes of Black Power and community dynamics without taking an explicit political stance. It depicted armed black militant groups and explored the internal debates within black communities about integration, separatism, and individual success versus collective struggle. Shaft's 'radical individualism' made him a complex figure, both admired and questioned by his peers.
The discussion highlights how the film references black nationalist groups, showing them armed and negotiating power. The insult 'snowflake' directed at Shaft by other black characters is explained as a 'loyalty test insult,' implying he was 'acting white' or 'detached from the black community' due to his fluid movement between black and white spaces and his independent, non-ideological stance.
3Innovative Filmmaking and 'Time Capsule' Realism
'Shaft' utilized low-budget, 'guerrilla' filmmaking techniques and strategic cinematography to create a raw, authentic portrayal of 1970s New York. The film's dark contrasts, silhouetting, and use of real-looking background characters contributed to a 'time capsule' effect, immersing viewers in the era's gritty urban environment.
Hosts note the 'gorilla filmmaking' and 'long zoom shots on the streets in New York' (). They praise the 'strategic silhouetting' and 'aggressive contrast' as creating a 'noir atmosphere' (, ). The observation that background characters 'looked like the kind of people that you'd see in these environments' rather than 'actors' () reinforces the film's realism.
4The 'John McClane Effect' and Relatable Heroism
Unlike many 'untouchable superhero' protagonists, Shaft is shown to be vulnerable, getting hurt and facing consequences for his actions. This 'John McClane effect' makes him more relatable and enhances the narrative tension, as the audience perceives real danger and impact on the hero.
The host states, 'he gets hurt in the movie and he's not perfect. Like he's cool, he's a badass, but he definitely he definitely takes some L's in the movie. Like he gets knocked out at one point completely and he's like all bandaged up and he's got to throw himself back into the fight again.' This makes him 'more vulnerable, more accessible, more interesting on the whole.'
Notable Moments
The hosts' initial surprise at the extensive 'Shaft' filmography, realizing there were three original films and two with Samuel L. Jackson, rather than just one.
This sets the stage for their 'first time watch' perspective, highlighting the cultural ubiquity of the franchise even if specific entries are less known.
Discussion of the film's low-budget, 'gorilla filmmaking' style, particularly the long zoom shots on New York streets and the extensive use of ADR.
This provides insight into the practical constraints and creative solutions of 1970s filmmaking, contributing to the film's raw and authentic aesthetic.
The hosts' observation that background characters in 'Shaft' looked like 'normal people' from New York, contrasting with the 'shine and gleam' of modern-day extras.
This points to a shift in film production values and aesthetics over time, where older films sometimes inadvertently achieved a greater sense of realism in their casting.
The analysis of the 'love making scene' as 'artfully done' and 'tastefully done,' using tight focus and colored overlays, rather than being gratuitous or objectifying.
This challenges potential modern assumptions about how such scenes might have been handled in a 1970s Blaxploitation film, highlighting artistic intent.
The revelation that the supportive relationship between Shaft and the white Lieutenant Vic Androsie was radical for 1971, challenging expectations of racial tension with authority figures.
This provides crucial historical context, explaining how a seemingly neutral or positive interaction carried significant political weight for audiences at the time, signaling a shift in power dynamics.
Quotes
"It's like it's ubiquitous throughout all of the other stuff that we've been watching. So like might as well get on board with the references, right? And then also it allows me to watch because it would be a disservice to watch Shaft with Sam Jackson without watching the original."
"This music I've only heard in spoof. It's so cool to hear it. Like, yeah, like the original. The original."
"You're really on the streets here. It's not uh dressed up in any way."
"I mean, it's hood against hood on the inside, but on the outside, it's black against white."
"You're a gazy spook bumpy. You ride a tall horse, Mr. Sher."
"Shaft didn't try to fit in. He owned the frame."
"He gets hurt in the movie and he's not perfect. Like he's cool, he's a badass, but he definitely he definitely takes some L's in the movie."
Q&A
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