The Baron

Surprisingly good late Blaxploitation flick in which Calvin Lockhart plays an aspiring film producer who has only days to repay the mob the $300,000 he borrowed to make a movie. Richard Lynch is great fun as the psycho mob boss after his money, and so is Charles McGregor as the drug dealer who neglected to inform Lockhart that the loan was mob money. An ageing Joan Blondell also appears as the Sugar Mama Lockhart turns to when things get really desperate. Only a weak finish lets things down a little.

The Baron puts a unique spin on the typical 70s Blaxploitation shoot-em-up flick. Calvin Lockheart (who you may remember as a guest star on Good Times playing Florida's gambling cousin Raymond), plays an aspiring movie actor/producer/filmmaker who must turn to the underworld (and becoming some old lady's "Hot Dog") in order to raise money to make his film. And he must pay back his investors before someone gets hurt.

What Lockheart lacks in brawn (which seemed to be required for male leads in 70s black cinema -- i.e. Richard Roundtree, Jim Brown, Fred Williamson, etc.), he makes up in character and charm as he "battles" the gangsters in order to give life on screen to "The Baron." And while there are fewer "battles" than a typical Blaxploitation action movie (This film is more drama than action.), the ones that are shown are even more convincing since they're not the usual quick-n-dirty gun battles that we Blaxploitation fans have seen over and over.

Plenty of suspense, exciting action, good editing, solid acting, interesting storyline, and a groovy soundtrack by Gil Scott-Heron and Brian Jackson make _The Baron_ a great rental choice when you're looking for some cool 70s black cinema. Especially if you're looking for something different from the same ole shoot 'em up/karate chop Blaxploitation film.

Calvin Lockhart shines as Jason, a struggling black filmmaker in New York City who has to resort to borrowing money from the mafia to finish his latest movie. Even though this movie rips off the same plot as Hollywood Man, another low-budget movie starring William Smith, this movie actually is buoyed by great supporting performances by Richard Lynch, Charles MacGregor, and special guest star Raymond St. Jacques (he and Lockhart starred together in the classic Cotton Comes to Harlem).

"The Baron" really is quite the mess. This was included in a cheap package with a bunch of other "urban" films. Not a good movie by any means, but fun, and there are certain reasons to keep at it.

The first of course is the great Calvin Lockhart, who just shines in pretty much anything he is in. He's a black filmmaker fighting "the man" to get a film made, but who has to get shady after turning down a deal that would have turned his movie (with Lockhart playing "The Baron," a devil-may-care wealthy adventurer) into a "white" movie. He gets involved with the mob and other shady characters.

The leader of the mob, "Joey," is played by the great Richard Lynch, who is always perfect at playing scum. Some of my fave Lynch appearances include him on Galactica, Buck Rogers, and in "The Seven-Ups" and he's just fantastic. It was a very pleasant surprise that he was in this! And he is definitely a mean SOB. Lynch is so good at playing these roles that seeing him in 'real life' acting nicely must be a shock.

Joan Blondell appears as the rich white woman who eventually supports pretty boy Calvin. And there are some other familiar 70's movie faces as well.

The film really isn't that well made, but Lockhart, Lynch and the others make this a very good viewing. Some action and violence, but nothing crazy, and a very fast and convenient ending on the FDR drive (I think). Check this out for Calvin and Lynch especially.

Calvin Lockhart is The Baron, a struggling African-American filmmaker trying to get his big break. He gets mixed up with some dirty money and ends up confronting the usual mafia guys trying to keep a brutha down. They're a particularly nasty lot in this one, especially the racist, misogynistic, and homophobic Joey, played here flamboyantly by exploitation regular Richard Lynch. The film is a reasonably enjoyable blend of action and social commentary, and features a terrific score by Gil Scott-Heron and Brian Jackson. Joan Blondell, Raymond St. Jacques, and Marlene Clark are all wasted or underutilised, but Lockhart is good (as usual), even when burdened with some truly horrible 70s fashions.