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Plenty to Like, Plenty to Dislike

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Gordon Parks, Jr's blaxploitation classic "Superfly" chronicles the trials and tribulations of a cocaine dealer, Youngblood Priest (Ron O'Neal of "Original Gangstas"), who wants to bow out of the business with one big score and retire to obscurity. Priest informs his partner that they can buy 30 kilos of high-quality cocaine for $300-thousand and sell it in four months' time for a cool million. The catch is that Priest wants to buy the coke from his favorite drug dealer, Scatter (Julius W. Harris of "Live and Let Die," but Scatter has already made it known that he has dealt his last cocaine. Priest admires Scatter and convinces the older man who he grew up with to get the product for him. Just about everybody around Priest who either wants out or prefers to remain as a drug pusher suffers a terrible fate. Unfortunately, Scatter discovers that his former employers don't want him to quit, and they kill him and make his death appear to be a drug overdose. Call it sympathy for the pusher because the protagonist has decided to turn over a new leaf, change his ways, and conclude his life of crime. Priest's sexual conquest in a bubble bath glamorizes his lifestyle as much as the plethora of up-close shots of him cruising around in his pimped-out 1972 Eldorado Cadillac with a Rolls Royce Grill. Indeed, according to the trivia section at IMDB.COM, the NAACP denounced the portrayal of Priest's lifestyle "for its glorification of drug use and the stereotyping of African-Americans." Nevertheless, our protagonist experiences his share of woes. Early, in the action, Priest struggles with two junkies who try to steal his money, and our protagonist has to chase one of them across town-it seems-to reclaim his loot. O'Neal must have been in tip-top shape to perform stunts like clambering up a fire escape in his desperate pursuit of his quarry. Later, a dim-witted, ill-fated underling, Fat Freddie (Charles MacGregor of "Across 110th Street"), gives up Priest to dirty NYPD detectives after being brutally tortured for the information. The 1970s' blood splashed across his face resembles paint more than blood. Nevertheless, Priest is sincere about his vow to quit. Just when the police are poised to crush his dream, Priest learns that those corrupt white cops want to use him as their pipeline. Priest's partner-in-crime Eddie (Carl Lee of "Werewolves on Wheels") rejoices about the new set-up and banishes any thought of turning his back on the sweet life. Later, near the end of this 91-minute epic, Priest confronts his chief adversary, a high-ranking white policeman, Deputy Commissioner Reardon. The only thing that prevents Reardon from killing Priest is that the hero has paid white assassins to retaliate against the Commissioner and his family if Priest dies. If any soundtrack were ever inseparable from a film such was the case with Curtis Mayfield songs. "Superfly" wouldn't be "Superfly" without Mayfield's iconic songs. Produced for a reputed half-million dollars, this crime classic coined over $30 million at the box office.

Super Fly is a movie that is very much of its time. The film, directed by Gordon Parks, Jr, and released in 1972, is about a (light-skinned) black cocaine dealer in Harlem who is out to make one last killing before the life he is living - or the crooked New York cops - make HIM the one killed.Super Fly opens with its protagonist, Priest (played by Ron O'Neal), as the attempted victim of a robbery by a strung-out junkie. From the get-go, Curtis Mayfield's soundtrack is magnificent. His song Junkie Chase works well as the soundtrack to Priest's pursuit of the dope fiend who has robbed him. In fact, Mayfield's soundtrack is, by far, the best thing about Super Fly; this would be much less of a film without it. Mayfield's lyrics show the lie behind the movie's attempted glorification of Priest's world - "Secret stash, heavy bread, baddest bitches in the bed" - and show that Priest is as lost as everyone else in his world, including the doomed Freddie (of Freddie's Dead). From the title song: "Ask him his dream / What does it mean? He wouldn't know / Can't be like the rest is the most he'll confess". a pathetic waste of life.Nobody wins in Super Fly. Yes, Priest does "stick it to the man" - the white detective who wants to betray and kill him. Priest wins that battle, but the war cannot be won. Mayfield makes that clear. The soundtrack is a response to the film's exaltation of street life, showing the degradation and death at that life's end. The message of blaxploitation movies was that black men could succeed in life only if they were willing to be violent criminals or violent detectives; black women were born to be their playthings - their "bitches". How much has changed in 40 years? Listen to certain current rap lyrics.Since it is that long since the film was in theatres, I can acknowledge my own ties to "the life" at the time. I was fortunate: I got out. It's not fun, it's not glamorous, neither for black dealers or white wanna-be Mafiosi. You kill time until it kills you. It seems cool until you're sufficiently distanced to see with clear eyes (And yes, the characters in Super Fly were real people, if not based on specific individuals).So I'll stick with Curtis Mayfield's brilliant soundtrack and pass on buying the DVD. The soundtrack to Super Fly may have been the best of its era; it certainly is the best of the blaxploitation soundtracks, which says a lot, because some great music came out of those movies (think Isaac Hayes; Earth, Wind & Fire; Joe Simon; Millie Jackson; Bobby Womack, etc.). Instead, let me suggest the Wayans' satire I'm Gonna Get You Sucka or two films with Godfrey Cambridge, Watermelon Man and 1970's Cotton Comes to Harlem, which give respect to their characters, black, white and everyone else.

Rather than sugar coating subject matter and attempting to be politically correct, exploitation films blatantly depicted drug use and violence forcing movie goers into situations they may or may not be comfortable with viewing. Blaxploitation does this just as any other films encompassed in the genre and, unfortunately, has gotten excess criticism from both film critics, advocacy groups and even Civil Rights leaders. Films like Dolemite, Blacula and especially Superfly have been said to further stereotypes, promote violence and generally cast Black culture in a negative light. However, what many fail to see is that movies like Superfly are truly liberating to the culture the film is targeted for and further more, a commentary on social lives of Blacks at the time. Much like H. Rap Brown's, Die N!@@^# Die, Superfly is a commentary of two kinds of African American thought during the late 60s and into the late 70s.Of the many positions taken in the book, H. Rap Brown argues that there were different kinds of African American mentalities during the Black Power movement. There were those who were ready and willing to fight for change and move away from a society dominated by white ideals and racism. Although, there were also those who were complacent with their lives and unwilling to take any stance against the race who continued to force them into second class lifestyles. These mentalities are clearly stated in Superfly and it is an issue that the protagonist, Priest, struggles with throughout the film. Priest is a streetwise cocaine dealer in the midst of making a life changing decision. Rather than continuing his life dealing drugs, fighting rivals and avoiding the corrupt police he decides to make one final deal and leave the life. The Priest character's archetype is very similar to the second of the two groups mentioned in Brown's book. Often times, African Americans tired of the white controlled system turned to drugs and crime. Rather than trying to better society, they often times made it worse, killing and corrupting others. The Priest, fed up with the white dominated society, had acquired a small wealth selling drugs. Although, after some time of dealing he realizes he is putting both his own life and the lives of other in danger.It is at this point that Priest becomes some what of a black power symbol, slowly removing himself from his previous lifestyle, liberating himself from his white girlfriend; who is clearly using him for his connections in the drug world, and attempting to cast negative light on the corrupt, drug dealing police officers in power. Priest's partner, Eddie, is his stark opposite in the film. Where Priest attempts to leave his old life, Eddie wants to delve deeper into the world after Priest and Eddie are forced into doing deals for the police. Eddie sees this as an opportunity for more wealth, where Priest knows it is truly a form of modern slavery; where the police are the masters and individuals like Priest and Eddie are the slaves and Priest is not willing to tolerate this abuse.Curtis Mayfield composed and performed all of the songs featured in the film. The films main song, "Superfly", sums up the issues faced by drug dealers on a day to day basis. The lyrics, "Hard to understand ,what a hell of a man, this cat of the slum, had a mind, wasn't dumb, but a weakness was shown, 'cause his hustle was wrong, his mind was his own, but the man lived alone" illustrate Priest's lifestyle as a hustler with a strong mind. He finally recognizes the wrong doings he has committed and must pull himself up from the streets. Similarly, the song "Pusherman" tackles other inner struggles faced by Priest. Lyrics such as, "been told I can't be nothing' else, just a hustler in spite of myself, I know I can rake it, this life just don't make it" show white America's perceptions of Black Americans who have given up on society. Powerful whites, at the time, felt that there was no retribution for those who committed their lives to crime and drugs. Furthermore, a statement is made that inner city African Americans are never given the chances of whites outside the cities; also a trend in Brown's book. Black youths were often times told that there is nothing for them outside of inner city life. The expectations of those around Priest are to deal drugs, make money and risk their lives. Anyone who tries to leave the life will face scrutiny and they are actually expected to fail.Overall, Superfly black America's response to white America's perceptions about inner city life. Superfly and the Priest are black America's version of John Wayne, Clint Eastwood and Charles Bronson. The film defines ideas proposed by black power figures and does all of this while still incorporating an entertaining and engaging story. The film is also a commentary of the relationships between different groups of African American groups in violent times. It is a story about retribution and exceeding the expectations of both those in power and those around an individual. Using strong black power themes, a once corrupted drug dealer becomes a symbol of black strength and perseverance at a time when racism was at its worst

Priest is a drug pusher and pimp on the rough streets of New York but he has come to realise that he is going to end his days either in jail or dead on the same streets that he came up on. For this reason he comes up with a four-month plan to make a million dollars and retire with cool half-mil each for him and his business partner. Priest sets out to purchase 30 kilos of high-grade cocaine and get it quickly distributed on the streets, make the money and get out. However getting his hands on that much weight is only his first problem in a business that generally doesn't "do" retirement plans.As everyone knows, studios will make anything for anyone as long as it will earn them money. Blaxploitation is the label given to the urban films of the 1970's that were marketed towards inner-city Afro-American audiences and Super Fly is one of the leading examples of the genre. Putting the label on it makes it seem cheap and like it is an exploitative film but, having seen Pirates of the Caribbean 3 and Spiderman 3 this summer, I am sorely aware that studios seeking to make money out of target audiences is all exploitation and often produces an inferior product, so quite why we have identified some of them by race I'm not sure.Anyway, with the wider awareness that the vast majority of films exist to make money, I sat to watch this without looking at it as a blaxploitation film so much as just a film. The first thing that strikes you is the sense of style and culture, which is key in the delivery of the film because god knows there is surprisingly little content in here. The fashion, the cars, the music, the lingo all make for a convincing world and perhaps this was sufficient for urban audiences who felt they had never been put on screen in a way they respected. However my concern was that the story was paper thin at times. Some scenes seem stretched in order to fill out time and even some specific shots appear to be lingering for the sake of it. Here and there the effect produces some style (best illustrated in the montage of stills played out at one point) but too often it just is unnecessary slack in the delivery.Without the material it is hard to really care about the characters; the "getting out with one last score" theme is nothing we have not seen a million times before and since but here I struggled to feel anything for Priest. He is not sympathetic enough to care about or intense enough to hate, nor does he really come across as much of a real person. O'Neal does what he can but mostly he is style rather than performance, which suits the film but doesn't do much else. The support cast is much the same with serviceable performances from Lee, McGregor and others (typically the women are sexual beings who exist to please the men – which perhaps shows how little this aspect of the genre has moved forward). The only real star is Curtis Mayfield's cool and funky soundtrack, which is the main tool used to fill out scenes.Worth seeing as part of education about the blaxploitation film genre but you mustn't come into it expecting it to be a good film outside of the limitations of that genre.