Strong and Moving!

Just perfect...

Excellent but underrated film

It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

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".

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.

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.

When Edward G. Robinson filed "Little Caesar" in 1933, he could never have imagined that fifty-two years later it would be reconfigured as Blaxploitation and become a cult classic in its own right. Williamson stars as a former shoeshine boy who strives to get ahead by shoehorning his way into the formerly all-white organized crime ring. He bullies one of the figureheads into giving him a chance and then uses that chance to springboard into a leadership position of his own, always stomping out anyone in his way and always with an eye on paying back the dirty cop (Lund) who mistreated him as a youth and gave him a limp with which to remember him by. He reaches unheard of heights financially, but, like so many before him, loses the most important things like the respect of his friends and the love of his woman (Hendry.) Williamson has quite a presence as the title character, his tall, athletic build cutting an imposing figure while his sly and slick personality covers the business end of things nicely. Hendry runs hot and cold. Her quieter moments are solid, but anytime she's called upon for heated emotion it all goes way over the top and is histrionic in the extreme. Lund is an exceedingly effective villain. His ruddy face is just begging to be pummeled as he expels nasty remarks and racial epithets. Martin and Roye play Williamson's childhood buddies who aid him as an adult and Harris and Gentry appear as his estranged parents. Wellman, a long way from "Lafayette Escadrille", plays Williamson's shady attorney while former Miss USA Hansen plays his curvy wife. It's a rough and tumble, at times heavily violent, film with lots of politically incorrect language and a dollop or two of brief nudity, which is all to be expected in this genre. What makes it fascinating, despite its obviously low budget, is the filming technique of director Cohen who shot the film in mostly authentic locations with no permits or intensive planning. Thus, when chases occur in the streets or a character wanders bloodily past onlookers, the reactions of the crowd are real! The film is set in various times from the 50's to the 60's, but there isn't a shred of period detail to be found anywhere. There's also some mighty choppy editing at times with scenes lasting mere moments or seemingly coming out of nowhere. It winds up mattering little, however, with all the audacious goings-on. Fans of the genre ought to really enjoy this one, which takes little time to breathe in between shootings, maimings, fisticuffs, chases and any other form of action. There's a great score as well with songs provided by no less than James Brown. Despite the downbeat ending, a sequel was in theaters within a year's time called "Hell Up in Harlem".