![]() ![]() ![]() Richardson, of Meteor) who have come to the conclusion that they lack the funds necessary to procure their afternoon fix. We begin with a pair of junkies (Make Bray and James G. He is among the most anti of all the blaxploitation antiheroes, and he gives Superfly more seriousness and complexity than any other such film I’ve seen, with the possible exception of the only slightly less brilliant Black Caesar. Superfly’s central figure, on the other hand, is a much shadier character, a supremely successful Harlem cocaine dealer who wants to quit while he’s ahead, but whose very success in the dope-pushing business guarantees that some very powerful and very dangerous people don’t want to let him take early retirement. Though the title character in Shaft operated mostly outside the law, he was nevertheless its ally, and could be counted without reservation as one of the good guys. Parks Jr.’s debut feature, Superfly, is nearly the equal of his father’s Shaft, and shows that the younger director was paying close attention to his old man, but it is a strikingly different movie in terms of tone and perspective. ![]() The year after Gordon Parks showed that an action movie aimed primarily at a black audience could become a mammoth crossover hit and even get nominated for major industry awards, his son, Gordon Parks Jr., turned blaxploitation into a family business. ![]()
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