El padrino de Harlem

Black Caesar (1973)

** 1/2 (out of 4)

Classic blaxploitation film has Fred Williamson taking on all the crime bosses trying to make it to the top. However, as we all know, once you're at the top there's only one place left to go. I've heard a lot about this blaxploitation film over the years so I was happy to finally get to see it but in the end there's nothing too original here to keep it highly entertaining throughout. I think the biggest problem is that we've seen this type of gangster story countless times before and this one even borrows from some classic gangster films like Scarface and Angels with Dirty Faces. Those homages are fun but the film starts to wear out in the final half hour, although things do pick up for the exciting ending. Williamson turns in a fine performance in the title role and he really was one of the classics of the genre. His tough talk and cool style fit the genre perfectly and director Cohen really knew how to use him. There's all the typical stuff from this genre including the racist whites, cool talk and this one even features a terrific opening song from James Brown. The best scene in the movie is the one where Williamson confronts his father who left him as a child.

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".

In 1953, the delinquent teenager Tommy is raised in Harlem in a period of a racist American society. When he grows up, he becomes a hitman (Fred Williamson) working for the Italian mafia. When he steals accounting ledgers from the mafia, he becomes a powerful kingpin in Harlem, keeping the mobsters and the dirty police commissary McKinney (Art Lund) under his control. But his fall begins when he learns that his mistress Helen (Gloria Hendry) is betraying him with his best friend.

"Black Caesar" is an American action film by Larry Cohen, with the dramatic story of the rise and fall of a black gangster in Harlem. The plot may be dated in the present days, but in 1973 it was a full of action classic of blaxploitation. My vote is six.

Title (Brazil): "O Chefão do Gueto" ("The Big Boss of the Ghetto")

Having grown up in extreme poverty in New York City and seeing firsthand the corruption, racism and criminal activity of those in law enforcement, "Tommy Gibbs" (Fred Williamson) decides that he wants to rise to the top and doesn't care what it takes. So he murders a mobster in cold blood to ingratiate himself with a rival kingpin and for this is allowed to set up his own small operation in an unprofitable part of Harlem. What follows is a steady rise to power helped in great measure by his obtaining some ledgers which list all of the corrupt politicians and the payments made to them under the table. Now, as far as a "blaxploitation film" is concerned this one wasn't too bad. Fred Williamson performed decently enough but my main concern was that it seemed like the sum didn't equal the parts. To be more specific, there were some very good scenes but they weren't connected very well. All in all then it wasn't a bad film and those who enjoy movies in this genre might like this one too. I rate it as average.

BLACK CAESAR is only the first half in the gangster epic of Tommy Gibbs (Fred Williamson). It has attitude, and comes up strong in detailing the urbanized ghetto culture in a gritty style. Compare this to THE GODFATHER, if you will, because there isn't a lot going on here that its second-half sequel HELL UP IN HARLEM actually offers much more to the story (Maltin, take note of this!). Both films gave Williamson the spotlight he deserved in show business with his mean, dirty style of action-packed influence. This one's just warming up. Best scene to remember: Gibbs putting on the shoe polish of a white man's face to resemble Al Jolson, only in beating the living daylights out of him as he shouts "Mammy! Mammy!". As you'd normally expect for a "blaction" classic, it's pure entertainment, and James Brown's soul music score (absent in the sequel) is the best I've heard. There is a call for examination on Gibbs' "superior" gang who wants to rule over the opposing race, a plot that sometimes goes overboard and needs to be studied. You need to check out and watch BOTH of these titles simultaneously to avoid instant confusion, letting them stick together into a three-hour movie on its own.