Dynamite Jones

'Cleopatra Jones' is one of my favourite 1970s exploitation movies. While technically blaxploitation it bears very little resemblance to the grittiness and relative realism of 'Shaft', 'Superfly' or 'Black Caesar'. It is closer to 'Black Belt Jones' meets James Bond, especially the spectacular opening sequence in Turkey. If you don't take it too seriously this is fantastic fun.

Tamara Dobson is beautiful, sassy and kick ass as Special Government Agent Cleopatra Jones, enemy to drug pushers everywhere. Her lover's (Bernie Casey - 'Never Say Never Again') half-way house is under threat of closure after a dubious drug bust. Cleo suspects the involvement of a crooked cop (the always menacing Bill McKinney - 'Deliverance'), and local drug big wig Mommy (Shelley Winters as a larger than life lesbian leather queen!). Mommy and her henchmen (one of which is the legendary Paul Koslo - 'The Omega Man') try everything in their power to stop Cleopatra, but hell, look at her moves! her clothes! her Afro! Who do you think is gonna win here?!

A stylish, silly and wonderfully entertaining trash classic. Directed by Jack Starrett ('Slaughter', 'Race With The Devil') and co-written and produced by actor Max Julien ('Psych-Out', 'The Mack'). 'Cleopatra Jones' is a must see for 70s buffs.

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" (Tamara Dobson) is a Special Agent for the United States whose primary mission concerns itself with drug interdiction. As a result she travels to Turkey and oversees the destruction of a huge poppy field which just happens to be a main source of heroin for an American mob boss by the name of "Mommy" (Shelley Winters). Needless to say the destruction of this poppy field infuriates Mommy who decides to get her revenge by closing a halfway house in Los Angeles which is near and dear to Cleopatra Jones. This news brings Cleopatra back to Los Angeles where Mommy already has plans to eliminate her one way or the other. Now rather than reveal any more of this movie and risk spoiling it for those who haven't seen it I will just say that even though this isn't the most realistic "blaxploitation movie" ever filmed it does have a few good things going for it. The first good attribute is the presence of Tamara Dobson who was both sexy and elegant at the same time. Another good aspect of this film pertained to the excellent timing of the movie during a period when quality blaxploitation films like this were in high demand but low supply. It was sort of a diamond in the rough so to speak. That's not to say that there weren't flaws of course but overall this movie was enjoyable and because of that I rate it as slightly above average.

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.

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.