Las noches rojas de Harlem

It is an innovative effort, and serves as a snapshot of the times. Shaft, written by Ernest Tidyman, stands as one of the best modern detective dramas. Written and filmed at a time of extreme social unrest throughout the U.S.; the movie shows how Jon Shaft uses his private detective status and ethnicity to retrieve the kidnapped daughter of a notorious Harlem kingpin. While the plot pieces of black militants, and a potential race war in New York City, may not be as relevant in 2001 as they were in 1971, the cast and crew do a good job to convey the importance of Shaft's mission. Shaft, indeed, is one cool cat. Not only is he a ladies' man, but he's also a man about town. He knows every iota of New York City, and uses his detective skills to the fullest. Ducking the city police, and handling his business with the crooks, Shaft plays it cool to the very end. Many people like to bundle the blaxploitation pictures into a neat little package; one to laugh at and check out the music score. Shaft proves there was more meaning to these films, and ends up as a classic display of substance with style.

From its opening moments, helped tremendously by the musical soundtrack by Isaac Hayes, Director Gordon Parks' SHAFT is a tremendous crime-drama. Richard Roundtree plays the titular character as the ultimate, early 1970s bada$$, befitting of his wardrobe of awesome turtlenecks and leather.

Private Detective, John Shaft is called upon by a notorious Harlem crime boss (Moses Gunn), to rescue his daughter from a group of sinister mafia types. What follows is a gritty, entertaining romp through Mr. Parks' vision of the NY underworld. Mr. Roundtree carries the entire film, making it quite obvious how his character reached such an iconic status.

SHAFT is also noteworthy for not being overly exploitative. The racial issues / tensions are rather muted, and not used as the typical popcorn fodder of lesser movies of the subgenre. In fact, there's a genuine, though strained, sort of respect between Shaft and Officer Vic Androzzi (Charles Cioffi), that could have been taken into all-too-familiar territory.

A classic film worthy of repeat viewings...

I can understand why modern viewers aren't too impressed with „Shaft". Compared to modern action movies there isn't really much action here and it isn't anything spectacular – no huge shootouts , kung fu fights , big explosions , car chases and so on. There is lot of dialogue and the pacing is rather slow.

You know what ? Those are the reasons why I really like "Shaft" . It feels like a REAL LIFE story . Not every movie has to be an over the top spectacle for simple minded audience. For me less is more . I can hardly care for action hero when he's doing impossible stuff like jumping over the missile with a truck. Here the danger feels real . There is no villain . A simple bad guy with a gun can end your life and you have to be very careful . Shaft uses his muscles only when necessary . He prefers to outsmart his enemy , because violence can lead you as far. When he's fighting for life , you FEEL that he's fighting for life.

The movie captures the gritty atmosphere of 70's New York City . In this world everybody is walking a thin line between law and law of street . I also like that Shaft is a detective and the investigation actually plays important part through whole movie . Not to mention that characters here feel like they could exist in real life.

Richard Roundtree is great as the charming bad ass Shaft who is one foot in the world of black people and the other foot in the world of white people. He easily dominates the whole movie with his tough , confident and wise cracking personality. Women , both black and white are attracted to him (We get to see naked women – something you can't see in action movies anymore). The other actors give him solid support. I liked Charles Cioffi as Vic Androzzi and Moses Gunn as Bumpy.

The movie is worth watching for the delightful dialogue. Believe me – there is more tension in a scene when Shaft talks to Bumpy than in many car chases. The movie is very dialogue heavy , yet it's a true pleasure to listen how characters talk with each other . Most of the dialogue is quite humorous . You should prepare pen and paper to note .

The action scenes are nicely photographed . There is a great title song by Isaac Hayes (it won Oscar) and during the movie you can hear few other nice songs. "Shaft " is mostly entertainment , but it was also an important movie for black people. It's one of those rare movies where the black guy is a hero . The situation now changed , but long time ago it was a breakthrough movie . "Shaft" also captures really good the tension between white and black people back in the 70's.

I give it 7/10.

I can. Because this is not only the greatest black-exploitation film ever, but also one of the best films of the 70's era. Richard Roundtree brings out Ernest Tidyman's John Shaft like no one else can (not even Samuel L. Jackson in the new shaft can compete) as the ultimate bad-a** who must investigate a kidnapping. One of the most memorable films ever made, especially by the Oscar winning song (and nominated score) by Isaac Hayes, which made his breakthrough as his funk thing grew. A+

This is not a great film, but it is one of the most important films in American history.

The film suffers primarily because Parks isn't sure whether he wants to direct a 'relevant' black crime drama - for which he doesn't really have the money - or a film of the genre that became infamous as "blaxploitation", which had at that time not yet achieved definition. In other words, Parks is breaking new ground, and he wasn't sure exactly what ground he is breaking. So the film tends to amble, and sometimes even stagger, as it tries to define a goal for itself.

Nonetheless, this is the first film where a strong black man in a truly heroic role - without the props of white liberal social blather, and without being borderline criminal - is portrayed without excuses or apologies. Shaft is truly a hero of his time, part Sam Spade (& no jokes here, please), part James Bond - and all man - intelligent, fast to act, direct and always true to himself - he's nobody's "boy".

Although these qualities are in the script, the communication of the message depends entirely on Richard Roundtree - one of the truly great action actors of Hollywood history - hey, I'm a white boy, and I still want to be this John Shaft! he's that cool. The marginalization of this savvy and witty actor, due to the racism of Hollywood, is a real crime.

Well, for now, never mind; his performance alone carries this film, and makes it a treasure; and no matter how badly Hollywood marginalizes black action cinema, Roundtree's performance will continue to stand tall, for many generations to come.