Cleopatra Jones

Cleapatra Jones is one of those movies that you might have caught on t.v. as a little kid and thought, "Wow, that was amazing! I want to be just like her!" Then, when you are older and see it scheduled to come on t.v. again, or see it in the video store, you arrange to watch it with all sorts of anticipation and end up laughing through the entire movie-the choreographed fight scenes, the extreme villains, the jive "put downs". Either way, it is a cool movie to watch, whether you want to go "WOW" or joke it.

I think Tamara Dobson is absolutely stunning in the movie. Very glamorous and very "tough" (if you disregard the fake fight scenes)and within the context of the movie, she is very smart. Blaxploitation films had their place back in the day (and they still do).

Shelly Winters played a "surprising" role as the villain. If you need to get a handle on this, view the movie, "I'm Gonna to git You Sucka"- Towards the end of the movie, a whole list of actors/actresses, who are thought to be above playing in exploitation movies, are named in various exploitation films. Of course Cleopatra Jones is mentioned.

While the movie can be classified as "cheesy" by many, it does have action, adventure, and romance. The action is non-stop-Cleo is always kung fuing someone or driving the hell out of her Corvette to get away from the bad guys. Also, there a pretty neat scene where she rides a motorcycle up a steep hill to everyone's dismay (if you happen to catch CJ on DVD or VHS, use pause on this scene-it is clearly a Caucasian male, with brown makeup, who is actually riding the motorcycle). The adventure is during the beginning-she is in Turkey blowing up poppy fields. Also, her investigations takes her to various parts of town and she interfaces with various "interesting" supporting characters. And then there is the romantic scene with her and Bernie Casey.

If anything, CJ is a wonderful film to have going if you happen to have a 70's theme party or something.

Tamara Dobson plays the title character, the best dressed United States Agent in the history of cinema. She's on a quest for justice and for burning down poppy fields.

Her rival is Mommy, played by Shelley Winters, who gives a subtle, restrained perf...naw, I'm fooling ya, she's re-defining over-the-top as she GNAWS on every single piece of scenery, all in a variety of Eva Gabor wigs. Seeing her rub the bottom of her young girlfriend, and then get her feet rubbed by the same girl...I wasn't sure if I was going to vomit or thank the movie gods that created this.

Plot is virtually unimportant as Cleo battles the fuzz, Antonio Fargas and anyone who gets in her way. Movie is vintage fun and it was nice to see Esther Rolle in a small part. 6/10.

Cleopatra Jones was an inspired effort, given the period it was made. As a black male, I really appreciate the film. The character is one of liberation, and contrary to what has been said about the film, her job is to get rid of drugs, and keep America safe, black or white!!! And yes, you can do good in the hood and look good as well! She is clearly not meant to be anti-establishment, and the story goes a long way in that regard. It is too bad that characters such as Cleopatra Jones, Foxy Brown, and Coffy do not get the credit they deserve. You wouldn't find too many strong heroines beside Wonder Woman, until Ellen Ripley comes along in Alien.

Needless to say, my favourite Quentin Tarantino film is 'Jackie Brown'. I enjoyed the action, and Tamara Dobson was gorgeous (I can't believe she was 6'2"! Wow!). I wish she had done more movies, and hadn't died so young (at age 59, of pneumonia and multiple sclerosis). Though director Starrett (who died even younger, of kidney failure) mainly did TV work, I loved his 'Race with the Devil', which was from around this time. He was very good at these kind of films, at both presenting action set-pieces and building suspense.

I would like to see ALL of these 'urban action' films. Though from my movie-watching experience, I find that I tend to prefer films from before 1970, these films from the 70's are great too, and are a lot more enjoyable to me than most films I see today.

I sincerely hope that, like in 'Cleopatra Jones', the filmmakers of today could concentrate on actors' presence and stunts, rather than simply go with CGI. I for one would be a lot happier as a cinephile.

Back in the Seventies, mainstream audiences still reeling from the one-two punch of Shaft and Superfly were subjected to a barrage of ghetto avengers - Black Caesar, Willie Dynamite, The Candy Tangerine Man and the rest - all covering depressingly familiar terrain. Black writer Max Julien (also an actor, playing the lead role in the pimpsploitation classic The Mack) offered AiP his script for a female alternative but passed. Warner was quick to snatch up the rights, and in 1973 foisted the first black superchick onto the American public: Cleopatra Jones.

The film opens with a blazing opium field somewhere in Turkey. Cleo Jones, hap-ki-do expert and international do-gooder, returns to America to report on her success as a 'special agent' in her one-woman war on dope. Lesbian drug baroness Mommy (Shelley Winters, fresh from Corman's Bloody Mama) is furious her poppy fields were torched, and threatens an all-out war between the Brothers and the Mothers. One of Mommy's uppity underlings, Doodlebug (Antonio Fargas, best remembered as Huggy Bear in Starsky And Hutch) is getting rich off stealing Mommy's coke, and provides a cautionary moral aside warning against living as a White Man's flunky (Cleo points to Doodlebug's white chauffeur, and asks "What next - two white jockeys on the lawn?"). With a "whacka-whacka" superfunk guitar in the background, Cleo does her chop-sockey routine on the coke dealers and crooked cops, and kicks Shelley Winters' portly ass for her wild overacting in the final showdown. Tamara Dobson as Cleo Jones reportedly stood 6"2, and that doesn't include what must've been the BIGGEST afro in the business! Despite her physical prowess, the script doesn't give Cleo any real motive for her cartoon crusade (unlike the later Coffy and Foxy Brown) and reduces her to a smug self-satisfied cardboard cutout. Add the sloppy direction by Jack Starrett and you get a surprisingly poor release by a major studio.