El padrino de Harlem

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!!

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