Be it the violence, the sex, the music or an actual consciousness for trying to say something beyond the violence, sex or music, there were a handful of so-called “Blaxploitation” films that set the standard for the dozens of derivatives that followed.
The following are 10 films that made an impact and created a tone that others copied–because as any viewer of this genre knows, imitation was the sincerest form of trying to make a quick buck.
“Shaft” (1971): Set the standard for the black man (Richard Roundtree) as the aggressor in motion pictures. Sequels: “Shaft’s Big Score” (1972), “Shaft in Africa” (1973).
“Sweet Sweetback’s . . . Song” (1971): Writer-director-star Melvin Van Peebles’ salacious, profane film was a crude but effective counterpoint to “Shaft’s” slicker tones. Set the anti-white mentality indicative of Blaxploitation films to follow.
“Superfly” (1972): Succeeded in making a villain type (Ron O’Neill as a drug dealer) sympathetic; great Curtis Mayfield soundtrack. Sequel: “Superfly T.N.T.” (1973).
“The Mack” (1973): Presented the celluloid life of pimp (Max Julien) in all its flamboyance and menace; Richard Pryor in a great comedic turn as the sidekick.
“Coffy” (1973): Set the standard for the black woman (Pam Grier) as the aggressor in motion pictures.
“Slaughter” (1972): Established football star Jim Brown as the prototypical avenging black action hero. Sequel: “Slaughter’s Big Rip-Off” (1973).
“Blacula” (1972): Campy vampire picture showed that any genre could be retrofitted for Blaxploitation purposes. (Pam Grier starred with William Marshall in the sequel.) Sequel: “Scream, Blacula, Scream” (1973).
“Black Caesar” (1973): Had aspirations of being more than its sum, by setting up gangster Fred Williamson as a fallen hero a la Michael Corleone in “The Godfather.” Sequel: “Hell Up in Harlem” (1973).
“Cooley High” (1975): “American Graffiti” for African-Americans, it was filmed in Chicago (written by “Good Times” creator Eric Monte) and captured the music and spirit of the 1960s on the West Side.
“Cotton Comes to Harlem” (1970): Broad action comedy whose sequel caught the wave of the Blaxploitation movement. Sequel: “Come Back, Charleston Blue” (1972).
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Other films that had an impact and enjoyed success because they came out during the Blaxploitation period:
“The Learning Tree” (1969): Award-winning autobiography of director Gordon Parks’ (“Shaft”) coming of age in Kansas was ahead of its time for movement, but is still significant.
“Sounder” (1972): Wholesome story about sharecroppers in the 1930s flourished because it was a welcomed alternative to the violence and sex of other films in the culture.
“Buck & the Preacher” (1972): Black western starring Sidney Poitier in his directorial debut; co-starring Harry Belafonte.
“Lady Sings the Blues” (1972): Diana Ross’ acting debut earned her an Oscar nomination for playing Billie Holiday.
“Uptown Saturday Night” (1974): Bill Cosby and Sidney Poitier teamed up for the first of two successful comedies.
“Claudine” (1974): Warm-hearted contemporary family drama starring Diahann Carroll and James Earl Jones.
“Mahogany” (1975): Bizarre Diana Ross/Billy Dee Williams vehicle (Anthony Perkins is “psycho” as a villainous photographer) spurred the catchphrase “success is nothing without somebody you love to share it with.”