Willie Dynamite

A classic 70's Blaxploitation film. Pimps as colorful as peacocks with land cruisers dressed in chrome.

Roscoe Orman (Gordon from Sesame Street) plays Willie, a pimp who has the patter down pat and the clothing that rivals anything that your imagination can come up with. He runs afoul of a determined social worker and the police, both determined to bring him down. They use every trick in the book to make his life hell and bring on him the wrath of his fellow pimps.

Diana Sands, who was one of the top black actresses of the 50s and 60s, shined as the social worker. This was one of her last films as she died of cancer before its release. She was 39.

Like Al Capone, Willie's downfall was the IRS.

Willie Dynamite is most certainly one of the most flamboyant pimps to ever grace the screen and his "stable" of beautiful women are frequently scantily clad, but don't let the smooth taste fool you, Willie Dynamite is not your average pimp film.

"Willie Dynamite" was at times thought-provoking, frequently intense and entertaining throughout. Watching Willie Dynamite fall from pimp grace makes for some interesting drama.

Roscoe Orman is great as the fallen pimp and Diana Sands is brilliant as always but there is much to be said about the performance of the young Joyce Walker, Willie's newest and most inexperienced 'treat'. This film's motto seems to be 'even an old dog can learn new tricks' as each of the main characters undergo some form of transformation before the credits start rolling.

8/10 stars

It is impossible to deny that this film has some hilarious parts. You can't help enjoying the absolutely ridiculous outfits and mannerisms of the pimps.

Everything from Willie's beyond gaudy car to even the characters' names (i.e. the white pimp named Milky Way) is pretty entertaining.

But it does have some serious (well okay, maybe not serious) implications as well. It is basically set up like most classic tragedies; a man in a position of great power falls due to a tragic flaw. Willie is likable enough not to deserve our hatred, but ruthless enough that we accept that he deserved his fate. Okay, so it's a bad idea to overthink this movie, but it is important to at least recognize that format.

Furthermore, its social implications are pretty relevant. It portrayed Black and White characters in both positive and negative stereotypes, as well as providing more well rounded characters to serve as positive rolemodels. It started out glorifying the pimp lifestyle and slowly de-glamorized it as a life of dishonesty, drug addiction, violence, and eventual ruin. It may have really given young kids growing up in ghettoes in that era as made something to think about by slowly exposing the harsh realities of a life outside the law. Especially since it also presented positive Black role models who came from similar situations, like Cora, a prostitute-turned-social worker on a quest to help rescue other young girls from a life on the streets.

In the course of one week, poor Willie the pimp is getting the heat from rival pimps, from the cops (including the wonderful Albert Hall), and from a reformed prostitute who is trying to get Willie's ‘girls' to unionize (`You can call me the Ralph Nadar for prostitutes', she snaps in one of the film's funniest lines). He even gets the IRS on his ass, although that scene isn't terribly realistic since no pimp and/or drug dealer with even half a brain would put his earnings in a bank!. What else? His purple Caddy gets towed about twice a day, his girls get busted (or worse!) and ultimately, his poor mom strokes out. Pimping just doesn't pay! This film isn't like most of the other blaxploitation films. It downplays the guns and drugs angle, and the lead character is not so baaad that he's good – or vice versa. He's a nut, really. You can even see people in the background who were unaware they were in a film, pointing at him and laughing. You can almost feel sorry for him because he's more stupid than evil, and that's where the film wins the viewer over. The film breaks away from formula a number of times, and despite the OUTRAGEOUS costumes and decor (even the telephones are fur-lined!), we care about the people in this film. There are good cops and bad cops, and there is a nice balance of giving us women with brains and brawn, but who are still capable of a pretty nasty catfight when the need arises. Something for everyone! My only beef is that despite a pretty ‘bad' theme song, the score doesn't rock at all. In fact, there are even a number of scenes that are scored with folky harmonica music. How uncool is that? It's also a shame that this film wasn't nominated for Best Costume design, but we all know how unlikely it was that most of the Academy members ever even saw this film. Just isn't fair! Overall, I think this is one of the best films of the blaxploitation genre, and along with `Unholy Rollers' and `Switchblade Sisters', one of the best exploitation films of the seventies.

The ad and plotline for this movie may give you the impression that Willie Dynamite is a typical blaxploitation actioner with heavy doses of violence and sex but that is not the case. Willie Dynamite deals with a NYC pimp (Orman) who must deal not only with the police and a dedicated social worker (Sands), but also his fellow pimps who resent his increasing level of power within the city. There is not much in the way of nudity or blood or even profanity. During the last third of the movie, the story switches gears as both Orman and Sands go through some major changes which cause them to alter their outlook and approach to their lives. In doing this, Willie Dynamite goes in a different (and less sensational) direction than many films of this period chose to go. The film also takes on a higher level of believability which helps to bring the two main characters to life. Both Orman and Sands are impressive in their roles. It is sad to note that Sands died shortly after making this as she was a very talented woman. Orman, believe it or not, went on to become a staple on TV's Sesame Street as Gordon! Now that's a change of pace. His fur coats and fur hat add some unintentional laughs to the story, though at the time this was made, they were probably in vogue. In fact, Willie Dynamite has a great early 70s ambiance that many of the bigger movies of the time did not contain. Willie Dynamite may not be the best known of the blaxploitation genre but it deserves more attention than it got.