Ron O'Neal is so cool as priest. And I love his car. Its the soundtrack by Curtis Mayfield that makes this movie great. Its right up there with the searching for Sugar man soundtrack. The music is so cool. I watched scene's over and over again just so I could listen to the music. I could have just listened to the soundtrack by itself. So why didn't I? I liked watching what was happening in the movie and listening to the music that went along with it. It was certainly a movie wroth the time it took to watch multiple times. Because I did watch it over and over again.
93 Reviews
cool song
SnoopyStyle21 March 2020
Life is rough. Drug dealer Priest (Ron O'Neal) decides to get out of the game after one final big score. He's looking to do a million dollar deal with his partner Eddie.
What a car! What a song! This is a relatively simple blaxploitation movie. Ron O'Neal is a functional lead. The production is what's expected. Most of all, the title is cool, the song is cool, and that's half the battle.
What a car! What a song! This is a relatively simple blaxploitation movie. Ron O'Neal is a functional lead. The production is what's expected. Most of all, the title is cool, the song is cool, and that's half the battle.
Superfly
jboothmillard3 September 2017
Warning: Spoilers
I found this movie in the book 1001 Movies You Must See Before You Die, I didn't know what to expect, but I did know the meaning of the title is that a character is cool, I hoped for something good, directed by Gordon Parks Jr., son of Shaft director Gordon Parks. Basically Priest (Ron O'Neal) is an African-American drug pusher, a cocaine dealer with a strong desire to get retire from the drug business. Before he can exit the drug world, Priest has to earn enough funds to support himself, as he feels a regular job will not satisfy his needs. Priest forms a plan to sell thirty grams of cocaine, he uses his profits to sustain himself while searching for a job, but he assumes his criminal background will hold him back from securing one. Along the way, Priest has many encounters with corrupt law enforcement, he also has his close friend Eddie (The Cool World's Carl Lee) betray him. In the end, Priest manages to escape the drug business, and walks away unharmed with his girlfriend Georgia (Sheila Frazier). Also starring Live and Let Die's Julius Harris as Scatter, Blazing Saddles' Charles McGregor as Fat Freddie, Nate Adams as Dealer and Polly Niles as Cynthia. O'Neal is indeed "superfly", i.e. flamboyant and super cool, the other black characters are slightly robotic, the white characters are crooked, and the women (black and white) are nothing more than sex objects. This movie may be a little dated now, but it was big success at the time, full of controversy with racist language, drug use and strong sex, and featuring a funky soundtrack, including the catchy "Pusher Man" by Curtis Mayfield, and the fantastic groovy title track and Grammy nominated score by Curtis Mayfield, all in all an interesting cult blaxploitation crime drama. Worth watching!
Not just a great blaxploitation movie, a great movie period.
Infofreak5 December 2002
'Superfly' is the best movie of the short-lived 1970s blaxploitation boom which gave the world the better known, but less substantial 'Shaft'. The 'Shaft' series are incredibly entertaining movies, no argument there, but most of the films from this period starring Richard Roundtree, Fred Williamson, Jim Kelly,et al are essentially action movies which feature "a black Dirty Harry", "a black Bruce Lee", "a black Philip Marlowe" or even "a black James Bond". In other words they are genre action thrillers with black protagonists. 'Superfly' is very different from most of those movies because Ron O'Neal plays Priest, who isn't a private eye or a "righteous dude" but a DRUG DEALER. And while Priest is tired of "the life" and wants to retire the movie doesn't feature any knee-jerk anti-drug stance or moralizing. This meant that many in the black community at the time detested it and what they perceived as being the glamorization of drugs and drug dealing. All these years later, in an era that is in many ways even more conservative (or at least more hypocritical!), this is what gives the movie a genuine edge, especially when what is on the screen is given a musical debate by Curtis Mayfield's superb score, one of the greatest of all time. O'Neal is charismatic and super cool and displays some genuine acting talent. Which makes it such a shame that his career quickly went down the toilet with little more than small supporting roles in 80s garbage like 'Red Dawn' and 'Hero and the Terror'. O'Neal is supported by an excellent cast of mainly obscure actors such as the late Carl Lee and Charles MacGregor ('Blazing Saddles') as Fat Freddy. The best known face is veteran Julius Harris ('Live And Let Die') who has a pivotal role as Priest's former mentor Scatter. Director Gordon Parks Jr. went on to make 'Three The Hard Way' starring Fred Williamson and Jims Brown and Kelly, but never fulfilled the his potential before being cut down in a plane crash in the late 70s. What a pity. At least he left us with 'Superfly', which is not just a great blaxploitation movie, but a great movie period. Highly recommended to all fans of gritty 70s crime movies.
Gritty Yet Smooth Funk
iquine19 December 2019
Warning: Spoilers
(Flash Review)
Super Fly and partner are New York coke dealers are looking for one last huge coke score in hopes of leaving the business rich. Will they be able to acquire enough weight to distribute to their selling armada? Will Super Fly know how far to press his luck vs getting out while he still can? He may be a pusher but he ain't no fool. Watch him navigate the cop and back stabbing infested waters with a smoothness and style, which is what this movie prioritizes. It hits the bullseye with the period style, slang, music and sass that was a major influence in pop culture. Major is an understatement as I've read it set the 'cool' style for the next decade even from this little low budget production. There is also social commentary on the pusher life being the only way for the African American to make it in 60s America and wouldn't be able to or aren't willing to avoid it as that is the only way of life they know. Technically, some scene pacing and editing could be smoothed out. Check it out to see it's funky aura.
Super Fly and partner are New York coke dealers are looking for one last huge coke score in hopes of leaving the business rich. Will they be able to acquire enough weight to distribute to their selling armada? Will Super Fly know how far to press his luck vs getting out while he still can? He may be a pusher but he ain't no fool. Watch him navigate the cop and back stabbing infested waters with a smoothness and style, which is what this movie prioritizes. It hits the bullseye with the period style, slang, music and sass that was a major influence in pop culture. Major is an understatement as I've read it set the 'cool' style for the next decade even from this little low budget production. There is also social commentary on the pusher life being the only way for the African American to make it in 60s America and wouldn't be able to or aren't willing to avoid it as that is the only way of life they know. Technically, some scene pacing and editing could be smoothed out. Check it out to see it's funky aura.
Look, I know it's a rotten game, but it's the only one The Man left us to play.
lastliberal14 November 2010
Long "Maxi" coats and "Superfly" hats with platform shoes: yes, I was one who jumped into the fashion trend at the time. I hat a purple hat and coat and four-inch platforms after this film came out. I wish I had a picture. :-)
This was a defining film that mightily affect a generation. The music of Curtis Mayfield made it even more enjoyable. It wasn't just a blaxploitation film, it was a good experience.
Sure the fights were lame, the acting nothing to write home about, and even the sex scenes left a lot to be desired, but this was an important film. See it ass soon as you can.
This was a defining film that mightily affect a generation. The music of Curtis Mayfield made it even more enjoyable. It wasn't just a blaxploitation film, it was a good experience.
Sure the fights were lame, the acting nothing to write home about, and even the sex scenes left a lot to be desired, but this was an important film. See it ass soon as you can.
supe fly
mossgrymk9 December 2021
I shudder to think where this film would be without Curtis Mayfield. Not only does his seductive "Pusher Man" power the single best sequence in the movie, the cocaine purchase and use montage, but many scenes seem designed simply as background upon which to project Mayfield's fantastic soul/blues score, like when Priest is hanging in his apartment or meeting with anonymous coke heads at restaurants but we don't hear their conversation, only the rhythms of Mayfield's urban soul. Had the Academy not been composed in the early 70s of old, white poopheads (it's a LITTLE better now) Mayfield would at the very least have picked up an Oscar nomination. Certainly the non musical parts of this Blaxploitation pic feel kinda tired. Not only is the story that hoariest of chestnuts, the crook who wants to go straight but must make ONE LAST SCORE, but the dialogue is talky even by non action movie standards with endless, repetitive riffs on how we should pity the poor coke dealer who's been forced into his life of crime by Whitey and he can't do anything else that would give his life meaning yadda yadda and even more yadda from scenarist. Philip Fenty till you wanna scream at Priest and Scatter and Eddie to "Shut the ****up, man, and deal the damn stuff already!" As for Gordon Parks' direction you can tell he's trying to keep things from bogging down (i.e. The aforesaid montage) but he keeps getting blocked by Fenty's chatterbox of a screenplay. As for the acting, it's ok. Ron O'Neil tends to the less is more school of thespianism which is usually a wise decision, as it proves to be here, and Carl Lee is solid as O' Neil's treacherous partner. Conversely, Julius Harris chews the scenery as Scatter and Sheilah Frazier is a pretty cypher. Give it a generous B minus for the genius of Curtis M.
Classic Blaxploitation, Plain and Simple
gavin694229 November 2012
Youngblood Priest (Ron O'Neal) is a cocaine dealer who begins to realize that his life will soon end with either prison or his death. He decides to build an escape from the life by making his biggest deal yet, converting the coke to cash and running off to start a new life.
You have to love the musical score from Curtis Mayfield; "Super Fly" is one of the few films ever to have been outgrossed by its soundtrack. And there are lots of interesting facts about this film: The film was shot by director of photography, James Signorelli, who would go on to become the film director at Saturday Night Live. The director's father, Gordon Parks, was the director of "Shaft", another blaxploitation classic, and financed this movie with the help of two dentists.
Does the film glorify drug use (particularly cocaine use)? I suppose that depends on your interpretation. Many say it does, the creators say it was intended to show the negative aspects of drug culture. I can see it both ways. I mean, gee, your hero is a drug pusher. But his life is hard... and yet, this hard life is presented as glamorous. Who knows?
You have to love the musical score from Curtis Mayfield; "Super Fly" is one of the few films ever to have been outgrossed by its soundtrack. And there are lots of interesting facts about this film: The film was shot by director of photography, James Signorelli, who would go on to become the film director at Saturday Night Live. The director's father, Gordon Parks, was the director of "Shaft", another blaxploitation classic, and financed this movie with the help of two dentists.
Does the film glorify drug use (particularly cocaine use)? I suppose that depends on your interpretation. Many say it does, the creators say it was intended to show the negative aspects of drug culture. I can see it both ways. I mean, gee, your hero is a drug pusher. But his life is hard... and yet, this hard life is presented as glamorous. Who knows?
A film that influenced a generation.
lambiepie-228 October 2003
Let me put in my two cents about this film.
If you weren't around when this film was released...you're going to miss much when writing a review. Let me try to help:
This film IS about an urban drug dealer that "sticks it to the man". This was NOT a known concept of that time which is why it attracted so many movie goers. What was ALSO interesting was the casting of the light skinned, straight haired actor Ron O'Neal as "Superfly" to "stick it to the man". "The Man", usually white in these films, formatically had to brace the rath of very dark skinned blacks. But here was something... different! "The Man", was really "The Law Establishment". And was "Superfly"...urban? New Concepts of the time.
Another thing: Curtis Mayfield HATED the theme of this movie. He was going to turn down writing the soundtrack when he thought it may be better to counteract this theme by writing POSITIVE messages for the audience to hear. Before "Saturday Night Fever", Curtis Mayfield wrote the ground breaking music to "Superfly". This made the film even more popular.
This was a low budget film released at the very beginning of the black film experience, and was meant to be the opposite of "Shaft" not a parellel to it. But based on the success of Shaft, Warner Bro's needed a project to enter in this arena and greenlighted "Superfly".
This film began a M-A-J-O-R fashion trend that was hard to overcome (only the Disco era of the late 70's knocked this one out.)
And that is "Superfly" in a nutshell.
"Priest", played by Ron O'Neal was 'supercool', he was slick, he had a nice existence, he was a drug dealer that you DIDN'T know was one -- not by outward appearances anyway...that didn't get his come-uppence at the end of the film, he GAVE it.
It is amazing what an impact "Superfly" had on the culture of that time. In looking at it now, it may look cheap, but it IS a timecapsule of fashion, of music and of breaking a movie taboo that all drug dealers are lowlifes and must be killed in the end.
About that fashion: This began the trend of white surban-ites dressing like pimps trying to be cool. Little white kids were wearing "maxi" coats with "Superfly" hats to Jr. High School and High School!!! Dancers were wearing platform shoes, etc., on American Bandstand!!! You think Hip-Hop did it? Where have you BEEN!!!
"Superfly" is one of the rare films that you must experience beyond judging it on how good or bad it is to watch...Rent this film to see how a film can INFLUENCE a culture.
If you weren't around when this film was released...you're going to miss much when writing a review. Let me try to help:
This film IS about an urban drug dealer that "sticks it to the man". This was NOT a known concept of that time which is why it attracted so many movie goers. What was ALSO interesting was the casting of the light skinned, straight haired actor Ron O'Neal as "Superfly" to "stick it to the man". "The Man", usually white in these films, formatically had to brace the rath of very dark skinned blacks. But here was something... different! "The Man", was really "The Law Establishment". And was "Superfly"...urban? New Concepts of the time.
Another thing: Curtis Mayfield HATED the theme of this movie. He was going to turn down writing the soundtrack when he thought it may be better to counteract this theme by writing POSITIVE messages for the audience to hear. Before "Saturday Night Fever", Curtis Mayfield wrote the ground breaking music to "Superfly". This made the film even more popular.
This was a low budget film released at the very beginning of the black film experience, and was meant to be the opposite of "Shaft" not a parellel to it. But based on the success of Shaft, Warner Bro's needed a project to enter in this arena and greenlighted "Superfly".
This film began a M-A-J-O-R fashion trend that was hard to overcome (only the Disco era of the late 70's knocked this one out.)
And that is "Superfly" in a nutshell.
"Priest", played by Ron O'Neal was 'supercool', he was slick, he had a nice existence, he was a drug dealer that you DIDN'T know was one -- not by outward appearances anyway...that didn't get his come-uppence at the end of the film, he GAVE it.
It is amazing what an impact "Superfly" had on the culture of that time. In looking at it now, it may look cheap, but it IS a timecapsule of fashion, of music and of breaking a movie taboo that all drug dealers are lowlifes and must be killed in the end.
About that fashion: This began the trend of white surban-ites dressing like pimps trying to be cool. Little white kids were wearing "maxi" coats with "Superfly" hats to Jr. High School and High School!!! Dancers were wearing platform shoes, etc., on American Bandstand!!! You think Hip-Hop did it? Where have you BEEN!!!
"Superfly" is one of the rare films that you must experience beyond judging it on how good or bad it is to watch...Rent this film to see how a film can INFLUENCE a culture.
Decent hustler material
Mr-Fusion30 April 2015
The big draw to "Super Fly" is Curtis Mayfield's case study in funk. A score like that, the sort that defines and threatens to hijack a movie, it doesn't come along everyday.. Which isn't saying the rest of the movie is bad. It's a one last drug score" story, played right down the middle. And it's not fair to the movie to say this has been done to death, but this was clearly more potent in its subject matter back in '72. It's worth seeing today, mostly for the gritty locations, brooding Ron O'Neal, and the bleak results of dead-end ghetto life.
Really, it's that sweet music I can't get out of my head.
6/10
Really, it's that sweet music I can't get out of my head.
6/10
"Hard to understand/what a hell of a man/This cat of the slum/had a mind, wasn't dumb"
moonspinner5530 July 2017
Realistic filming on the streets of Harlem, plus a groovy soundtrack courtesy of Curtis Mayfield, almost makes blaxploitation crime-drama worth sitting through. Ron O'Neal plays Priest, a cocaine dealer with a criminal record who loves the ladies, drives around New York City in a pimped-out Cadillac Eldorado, and snorts blow using the crucifix around his neck. Priest wants to retire from the life after scoring one last deal: selling 30 kilos of coke. He tells his girlfriend, "I wanna buy myself some time, baby. Time that isn't all f****d up with things we gotta do!" The ugly dialogue is a chore to listen to, but O'Neal cuts a suave, assured presence and there are some tense action scenes in the midst of the wayward drama and race issues (the abusive cops being all white). Made for $58,000, the film turned a $4,000,000 profit and was popular enough in urban markets to warrant a sequel the following year ("Super Fly T.N.T."), directed by the returning O'Neal. *1/2 from ****
Gritty, dark, dirty and good.
spacemonkey_fg14 August 2006
Ill be darned if this film wasn't the mother of all Blaxploitation films.
The story is about this drug dealer called Priest Youngblood. He has a good business built for himself by selling cocaine out on the streets of New York city. He and his buddy Eddie have made a small fortune with their dealing and now Priest is ready to bow down and get out of the drug dealing business, but not before doing one last deal. Buy a bunch of coke cheap and make a bunch of money fast. Will his buddy Eddie be okay with that, will the hustler lifestyle let Priest Youngblood go free? And a better question would be, does he really want to leave that lifestyle behind?
I was expecting a crappy blaxploitation flick for some reason. A bore fest with nothing that would surprise me. Boy was I wrong! This film is exceptionally well written. The dialog rings so true in many scenes that I had no choice but to sing praises for this movie as I was watching it. Phillip Fenty the writer, focused on giving these characters dialog that would sound like real people talking real jive from the streets. I mean when you hear these guys doing a deal, it most certainly sounds like the way it could have really gone down in the streets of New York in the 70s. So be ready for some groovy dialog, thats not only genuine to the era, but also adds a level of reality to the proceedings. Of special notice is a dialog that goes on between Eddie and Priest, in this sequence Eddie tries to convince Priest to stay in the business and make more millions, to live the American dream of having eight track players and TV's in every room. It was just amazing. There's more little speeches like that one spread through out the movie that are really quite excellent.
Visually speaking the movie looks gritty. I mean, grind house cinema was invented by movies such as this one. The streets look like real streets and by that I mean, dark, dirty and rat infested. Its not like todays over stylized films that look slick and pretty yet take away the level of reality from films. Not Superfly though, its quite evident that this film was filmed in the real streets of New York back in the 70s when Queens and The Bronx looked like crap. There's no fancy lighting here or anything, this place looks dangerous, for real. And the film did an excellent job of capturing the feel and stink of New York back in those days. Right from the opening credits when we see Priest parading around the city in his pimped up pink Cadillac to visiting some real nightclubs in New York playing some funked out tunes! That sequence in the club where a real live funk/jazz band is playing totally transported me to that era. The movie just absorbs the 70s and basically just keeps it in this little time capsule perfectly preserved for your viewing enjoyment. And how could this director (Gordon Sparks Jr.) not make a movie as cool as this when his daddy (Gordon Sparks Senior.) was the one responsible for Shaft? There's no doubt that this movie is sleazy, its grind house AND blaxploitation all rolled up into one! The characters aren't nice and perfect, in fact they are the sleaziest, baddest mothers to walk the streets of New York. Even our main character Priest Youngblood spends most of the film stuffing his nostrils with cocaine every five minutes. And I mean this literally not figuratively. They are all drug dealers and coke heads, pimps and crooks, kinda reminded me a lot of Sin City. Only this isn't some CGI fictional city, this is N.Y. C! And yet, the cool thing about this film is that it is sleazy, and gritty yet it has a certain style in its direction that is very hard to ignore. There's this one scene in particular that really blew me away in which we see Priest and Eddie moving on up in the drug dealing business by a series of photo montages that were really amazing. And after I saw this film I had no doubt in my mind where Blow got some of its ideas from.
Ron O Neal absolutely dominates this movie as Priest Youngblood. The badass drug dealing cool dude who everyone looks up to and fears. The guy moving up in the dealing world and you better look out and not mess with him. He is an anti-hero cause I have to admit about half way through the movie I couldn't believe that I was actually rooting for a freaking coke dealer who got high on his own supply! What I mean to say by all this is that this character is highly memorable and will have you rooting for him in no time flat, despite his despicable lifestyle.
But above all else, the film had a good story. The bad guy wanting to get out and live with his girl. But can he escape? Will he? Or was this all he was born to do? Rent this movie and find out. This is without a doubt THE best blaxploitation film I have ever seen and highly recommend it to those who enjoy gritty, dark and funky gangster films from the seventies.
Rating: 4 out of 5
The story is about this drug dealer called Priest Youngblood. He has a good business built for himself by selling cocaine out on the streets of New York city. He and his buddy Eddie have made a small fortune with their dealing and now Priest is ready to bow down and get out of the drug dealing business, but not before doing one last deal. Buy a bunch of coke cheap and make a bunch of money fast. Will his buddy Eddie be okay with that, will the hustler lifestyle let Priest Youngblood go free? And a better question would be, does he really want to leave that lifestyle behind?
I was expecting a crappy blaxploitation flick for some reason. A bore fest with nothing that would surprise me. Boy was I wrong! This film is exceptionally well written. The dialog rings so true in many scenes that I had no choice but to sing praises for this movie as I was watching it. Phillip Fenty the writer, focused on giving these characters dialog that would sound like real people talking real jive from the streets. I mean when you hear these guys doing a deal, it most certainly sounds like the way it could have really gone down in the streets of New York in the 70s. So be ready for some groovy dialog, thats not only genuine to the era, but also adds a level of reality to the proceedings. Of special notice is a dialog that goes on between Eddie and Priest, in this sequence Eddie tries to convince Priest to stay in the business and make more millions, to live the American dream of having eight track players and TV's in every room. It was just amazing. There's more little speeches like that one spread through out the movie that are really quite excellent.
Visually speaking the movie looks gritty. I mean, grind house cinema was invented by movies such as this one. The streets look like real streets and by that I mean, dark, dirty and rat infested. Its not like todays over stylized films that look slick and pretty yet take away the level of reality from films. Not Superfly though, its quite evident that this film was filmed in the real streets of New York back in the 70s when Queens and The Bronx looked like crap. There's no fancy lighting here or anything, this place looks dangerous, for real. And the film did an excellent job of capturing the feel and stink of New York back in those days. Right from the opening credits when we see Priest parading around the city in his pimped up pink Cadillac to visiting some real nightclubs in New York playing some funked out tunes! That sequence in the club where a real live funk/jazz band is playing totally transported me to that era. The movie just absorbs the 70s and basically just keeps it in this little time capsule perfectly preserved for your viewing enjoyment. And how could this director (Gordon Sparks Jr.) not make a movie as cool as this when his daddy (Gordon Sparks Senior.) was the one responsible for Shaft? There's no doubt that this movie is sleazy, its grind house AND blaxploitation all rolled up into one! The characters aren't nice and perfect, in fact they are the sleaziest, baddest mothers to walk the streets of New York. Even our main character Priest Youngblood spends most of the film stuffing his nostrils with cocaine every five minutes. And I mean this literally not figuratively. They are all drug dealers and coke heads, pimps and crooks, kinda reminded me a lot of Sin City. Only this isn't some CGI fictional city, this is N.Y. C! And yet, the cool thing about this film is that it is sleazy, and gritty yet it has a certain style in its direction that is very hard to ignore. There's this one scene in particular that really blew me away in which we see Priest and Eddie moving on up in the drug dealing business by a series of photo montages that were really amazing. And after I saw this film I had no doubt in my mind where Blow got some of its ideas from.
Ron O Neal absolutely dominates this movie as Priest Youngblood. The badass drug dealing cool dude who everyone looks up to and fears. The guy moving up in the dealing world and you better look out and not mess with him. He is an anti-hero cause I have to admit about half way through the movie I couldn't believe that I was actually rooting for a freaking coke dealer who got high on his own supply! What I mean to say by all this is that this character is highly memorable and will have you rooting for him in no time flat, despite his despicable lifestyle.
But above all else, the film had a good story. The bad guy wanting to get out and live with his girl. But can he escape? Will he? Or was this all he was born to do? Rent this movie and find out. This is without a doubt THE best blaxploitation film I have ever seen and highly recommend it to those who enjoy gritty, dark and funky gangster films from the seventies.
Rating: 4 out of 5
I can dig it
utgard1429 January 2014
Ron O'Neal plays a drug dealer name Youngblood Priest who wants out of the business. But not before one last big score. As you might expect, it won't be as easy to get out as he hopes. You've probably seen variations on this story dozens of times before and after Super Fly, but rarely this good. This is one of the high points of the Blaxploitation genre. Yes, it's morally suspect and not for all tastes. But it's also an exciting, gritty, and colorful urban drama. There's a great sex scene and a funny slow motion fight scene that are two of the highlights. Good direction from Gordon Parks, Jr. and an amazing score by Curtis Mayfield. Filmed on location in early '70s New York which gives it a great atmosphere and realism.
How fly
kosmasp5 November 2020
The movie has not aged well at all. I understand that many feel differently and that is more than ok. But apart from all the misogyny (which was a common trope and is nothing I am using agains the movie myself, even if I don't condone it), it is the way this is edited and shot (technically speaking this is flawed to say the least)! The morals seem muddled if you are being kind to it. It is not so much the glorifying, which the movie does not too much, especially considering how our main character seems to feel about it ... it is about certain stereotypes being used that do not help.
Speaking of the main actor, he is great, which cannot be said about all the other cast members. There seem to be quite a few bad apples in between. Or not as good apples to put it that way. Now onto the good things, which you could point out too. Everyone agrees about the soundtrack as far as I know. Amazing to say the least ... but also seemingly a trap for the filmmakers! Making this almost a music video compilation, occasionally interrupted by a story/movie. So while that should be a plus, some may feel it does not help but rather hurt the movie.
Soundtrack and main actor amazing and the overall message is a good one too. But then you have the fights too ... and boy do they miss the mark! Literally! Like by a mile (ok that is not literally, but you get the point) ... a shame then. Since I am not fully aware of the backstory of the making of this and this being considered as one of the milestones of blaxploitation, I cannot comment or give any insight on that or rate this more softly/circumstances related ... That's why you may disagree with me wholeheartedly, but know I am happy for you if you had better access to this and enjoyed it a lot more
Speaking of the main actor, he is great, which cannot be said about all the other cast members. There seem to be quite a few bad apples in between. Or not as good apples to put it that way. Now onto the good things, which you could point out too. Everyone agrees about the soundtrack as far as I know. Amazing to say the least ... but also seemingly a trap for the filmmakers! Making this almost a music video compilation, occasionally interrupted by a story/movie. So while that should be a plus, some may feel it does not help but rather hurt the movie.
Soundtrack and main actor amazing and the overall message is a good one too. But then you have the fights too ... and boy do they miss the mark! Literally! Like by a mile (ok that is not literally, but you get the point) ... a shame then. Since I am not fully aware of the backstory of the making of this and this being considered as one of the milestones of blaxploitation, I cannot comment or give any insight on that or rate this more softly/circumstances related ... That's why you may disagree with me wholeheartedly, but know I am happy for you if you had better access to this and enjoyed it a lot more
Seventies classic that only happens to be blaxploitation
chaos-rampant30 October 2008
Ron Earl is the Priest, independent Harlem coke dealer who is out for the big deal, one last push before he's out of there and out of the street. He also happens to be the protagonist and the one character we're called to empathize with and if that pose a problem for some, it's a directorial choice I applaud even only for its disregard of PC norm. In a genre populated for the most part by cops, private dicks and other manifestations of the law, having a drug dealer kicking ass and not in the name of some higher value, without him renouncing his past or seeing the error of his ways and becoming goodie two-shoes in a last minute, flimsy attempt to redeem the movie in the eyes of moral censors, without being heavy-handed or trashy is certainly admirable. Those that enjoy taking the moral high ground against the movie they're watching will find plenty of ground here to do so. I don't. I might oppose a movie on a political level but only when it tries to make a political statement out of it and Superfly sure as hell doesn't, at least not beyond what genre conventions might dictate (i.e. whitey is bad). The Priest however renounces the hypocrisy of "Black Nation" scumballs going around asking him for money just as much as he rails against the "redneck faggot" captain who doubletimes as the local drug lord.
So if Super Fly is so good, it's because The Priest's desire comes across so transparent, strong and clear. Get off the street. A home, a vine, his woman, that's all he wants out of life now, despite (or perhaps because of) him being a societal leech feeding off people's addiction. Dealing drugs is just a job for him, a means to an end. His partner Eddie rambles on at one point early in the movie about how "it's all whitey left them to do" on which I call shenanigans; that way of thinking is never further expounded upon in relation to the Priest's goal and Eddie in the end proves himself to be a backstabbing, greedy son of a bitch. I think the best way to sketch out The Priest's character is by using Lee Marvin's words when he was asked what it felt like to have played so many bad guys in his life: "My characters weren't bad. They were just trying to get through the day". That's pretty much the wavelength Super Fly channels its protagonist through. Neither condemnation, nor approval, it's just the way it is.
Super Fly is so damn good however, not just because its drug dealer protagonist comes across as genuine and sympathetic, but more so because it never allows itself to be drawn to the sillier end of blaxploitation. No 'mack daddy' sleazy pimpin' fabulousness here, the movie is constantly rooted in reality, taking itself serious before asking the viewer to do the same, but also groovy and funky as only blaxploitation flicks can be. A big part of that distinct seventies charm is due to Curtis Mayfield's stupendous score, playing over most of the film, but also the seedy back-alleys and rundown neighborhoods of then contemporary Harlem, the grime almost reaching across the screen.
Grade A blaxpoitation then, but also a smokin' hot crime flick with characterization that is better than most, good pace, all-around good acting, booty-shaking' music, afros and a few punches thrown in for good measure, Super Fly is among the best of its kind. Strongly recommended.
So if Super Fly is so good, it's because The Priest's desire comes across so transparent, strong and clear. Get off the street. A home, a vine, his woman, that's all he wants out of life now, despite (or perhaps because of) him being a societal leech feeding off people's addiction. Dealing drugs is just a job for him, a means to an end. His partner Eddie rambles on at one point early in the movie about how "it's all whitey left them to do" on which I call shenanigans; that way of thinking is never further expounded upon in relation to the Priest's goal and Eddie in the end proves himself to be a backstabbing, greedy son of a bitch. I think the best way to sketch out The Priest's character is by using Lee Marvin's words when he was asked what it felt like to have played so many bad guys in his life: "My characters weren't bad. They were just trying to get through the day". That's pretty much the wavelength Super Fly channels its protagonist through. Neither condemnation, nor approval, it's just the way it is.
Super Fly is so damn good however, not just because its drug dealer protagonist comes across as genuine and sympathetic, but more so because it never allows itself to be drawn to the sillier end of blaxploitation. No 'mack daddy' sleazy pimpin' fabulousness here, the movie is constantly rooted in reality, taking itself serious before asking the viewer to do the same, but also groovy and funky as only blaxploitation flicks can be. A big part of that distinct seventies charm is due to Curtis Mayfield's stupendous score, playing over most of the film, but also the seedy back-alleys and rundown neighborhoods of then contemporary Harlem, the grime almost reaching across the screen.
Grade A blaxpoitation then, but also a smokin' hot crime flick with characterization that is better than most, good pace, all-around good acting, booty-shaking' music, afros and a few punches thrown in for good measure, Super Fly is among the best of its kind. Strongly recommended.
This type of stereotyping was typical for blaxpoitation films in the 1970's
Ed-Shullivan24 January 2018
I always enjoyed the 1970's era of crime/action films such as Shaft, Slaughter, Enter the Dragon, and Serpico. Action star Ron O'Neal plays an up and coming drug pusher named Priest who decides he wants to make one more big score before retiring from the drug pushing business by purchasing then selling 30 pounds of pure heroin with his partner in crime, a guy called Eddie, payed by Carl Lee.
Not impressive: I can appreciate the dress style in New York city in the 1970's was flashy and that the cars needed to be expensive, big and long. But seeing both drug pushers, Priest and Eddie in their combo suede and leather multi colored knee length coats, fedoras, and sunglasses , and driving their big flashy cadillacs with custom headlights did nothing to quell the general public's opinion of what black men aspired to be in the 1970's. This is what blaxpoitation desired to accomplish.
Impressive: The musical score by Curtis Mayfield and his on screen presence singing one of the films songs was superb. The two women in the film who played Priest's lovers, namely actress Sheila Frazier who played Priest's every day girlfriend named Georgia, and Priest's girl Friday named Cynthia, were both easy on the eyes. Last but not least how Priest outsmarts the big drug lord was a decent approach which made this crime/action film worthy of watching more than once.
I give Super Fly a decent 6 out of 10 rating.
Not impressive: I can appreciate the dress style in New York city in the 1970's was flashy and that the cars needed to be expensive, big and long. But seeing both drug pushers, Priest and Eddie in their combo suede and leather multi colored knee length coats, fedoras, and sunglasses , and driving their big flashy cadillacs with custom headlights did nothing to quell the general public's opinion of what black men aspired to be in the 1970's. This is what blaxpoitation desired to accomplish.
Impressive: The musical score by Curtis Mayfield and his on screen presence singing one of the films songs was superb. The two women in the film who played Priest's lovers, namely actress Sheila Frazier who played Priest's every day girlfriend named Georgia, and Priest's girl Friday named Cynthia, were both easy on the eyes. Last but not least how Priest outsmarts the big drug lord was a decent approach which made this crime/action film worthy of watching more than once.
I give Super Fly a decent 6 out of 10 rating.
Curtis Mayfield's soundtrack makes Superfly the best of the original blaxploitation films.
Jimmy-143 October 1998
Gordon Parks Jr.'s "Superfly" is interesting enough with its cliches of drug pushers, users, pimps, hos, and the dismal life that is the ghetto. Good performances are given by Ron O'Neal as Priest, the drug pusher who wants to do the unthinkable -- get out of the business, and Julius Harris as Scatter, Priest's former connection to "The Man". After a little "help" from his friends Priest discovers he can only trust his woman, Georgia (Shelia Frazier). But, Priest has masterminded a way to take him and Georgia away from this life to another.
Throughout the film, Curtis Mayfield's superb soundtrack has a way of elevating what might be just another b film to a cult classic. From "Little Child Runnin' Wild" in the opening sequence to Curtis Mayfield's live performance of "Pusherman" in Scatter's club to the end credits with the title track, this is simply one of the finest pieces of music ever written specifically for a film. The soundtrack album, which produced hit singles with "Freddie's Dead" and "Superfly", stands with Marvin Gaye's "What's Going On" as perhaps the two greatest soul albums of the 1970's.
Throughout the film, Curtis Mayfield's superb soundtrack has a way of elevating what might be just another b film to a cult classic. From "Little Child Runnin' Wild" in the opening sequence to Curtis Mayfield's live performance of "Pusherman" in Scatter's club to the end credits with the title track, this is simply one of the finest pieces of music ever written specifically for a film. The soundtrack album, which produced hit singles with "Freddie's Dead" and "Superfly", stands with Marvin Gaye's "What's Going On" as perhaps the two greatest soul albums of the 1970's.
This is an entertaining movie, worth having in your collection since the main character is so great, but far from top 5 from this genre.
kevin_robbins16 July 2021
Super Fly (1972) is a movie I recently rewatched on Tubi. The storyline for this picture is about a cocaine drug dealer who has ambitions to score one last deal that will allow him to retire and start a new life. His supplier may have alternate ideas about his future. This movie is directed by Gordon Parks Jr. (Three the Hard Way) and stars Ron O'Neal (Red Dawn), Sheila Frazier (Two of a Kind), Floyd Levine (Death Wish) and Julius Harris (Darkman). The storyline for this is very straightforward and as you'd expect from this genre and era. The character interactions were very well written, natural and well executed by the cast. O'Neil was a fantastic lead character and the outfits were outstanding. He was depicted very well. The sex scenes weren't as good as some films from this era. The ending was good but the fight was funny and dated. Overall this is an entertaining movie, worth having in your collection since the main character is so great, but far from top 5 from this genre. I'd score this a 7/10.
1972 film-a-thon
ksf-212 March 2022
Ron oneal is priest, a drug dealer. He wants out, but the big shots up top don't believe in early retirement. It's the story of priest trying to raise the cash to sell one last batch so he can get out completely. Co-stars carl lee, who died at 59 from drug use, and sheila frazier. Lots of use of the N word, which was all the rage at the time. Female nudity. Keep an eye out for sig shore as the commissioner. He's also the producer of the film. And directed the sequel. Probably the best part of this film is the music by curtis mayfield. Directed by gordon parks. Had also made three the hard way. Died in a plane crash at 44. Written by phillip fenty. The trivia tells us this was one of the few films financed and filmed by a non-caucasian camera crew.
My second time watching Super Fly was even more enjoyable than the first
tavm18 March 2020
A year after Gordon Parks Sr. helped usher in the "Blaxploitation" era with Shaft, his son Gordon Parks Jr. helped extend that trend with this, Super Fly. Ron O'Neal became a star as drug pusher Youngblood Priest with his charismatic performance though it also became a source of controversy over his role being glamorized especially when they show a two-minute steamy bathtub love scene between him and Sheila Frazier. Musician Curtis Mayfield's score and songs are entertaining throughout and what a treat to see him performing as part of the picture. Of the supporting cast, I especially loved Julius Harris as Priest's mentor who had quit a while back and is initially hesitant to help him on one last deal. This was only my second time watching this and it was even a bit more entertaining than before. Now I'm anxious to watch the sequel Super Fly T.N.T. that O'Neal directed himself and is on YouTube right now...
Classic Blaxploitation
martinsmith9917 August 2001
A classic Blaxploitation film concentrating of drug dealing and gang life in the slums, with a great sound track supplied by Curtis Mayfield. Lots of action and classic one liners, okay plot, but I felt the ending could have been better as it seemed to end too abruptly. Thoughts ???
Technically, it's awful.
jbacks3-126 May 2006
The fact that Ron O' Neal actually comes off as a sympathetic character in this mess is pretty amazing. Even more so than "Shaft," this has not aged well. Wrapped in every early 70's urban cliché, you've got coke magnate Youngblood Priest tooling around town in a stereotypical pimped-out Caddy Eldo wearing pimp threads with no apparent thought given to keeping a low profile. Yeah, he wants out of the game after scoring $300K on 15 kilos but he's conflicted--- it's not enough money after splitting it with his partner and he's running up against some greedy (also stereotypically) corrupt cops. Gordon Parks Jr. has a lousy grasp of cuts and staging. You don't have to be a USC Film School grad to see how much superfluous padding was added to almost every scene to stretch out the running time. The acting itself ranges from barely competent to laughable with the fight scenes looking like outtakes. The mess is lifted considerably by Mayfield's score and the glimmer of O'Neal's acting talent. "Super Fly" was a monster hit and wrought the even worse "Super Fly TNT" sequel, but this one makes audiences appreciate "Shaft," directed far more competently by Park's father. I could rant about the ridiculous early 70's urban fashion sense, the lack of production values, etc., etc., but I have to acknowledge that based on the monster grosses, Super Fly hit a nerve with audiences. Music aside, it's a poorly rendered film and hasn't aged well.
Don't ask no questions why cuz I'm Super Fly
robfollower13 March 2021
From the first notes of the impossibly cool soundtrack by CURTIS MAYFIELD I was in the groove. A film like this makes you feel cool to be a human. The ability to swing your arms as you walk, to hear that funky beat and put it in your steps. The look of the world of a seventies black film is fantastic.
The feel for the film is authentic, because well it is authentic. Superfly's outfits rock, as do his hair and sideburns. Oh yeah, and the car. What a cool car? Superfly-mobile!!!
Then there is the startlingly cool still frame montage to the tune of PUSHERMAN, which is one of the coolest Blaxpoitation theme songs. And then you have the dialogue. The political incorrectness was fantastic. I hate sanitizing of film that so many films take in today's world. Check your 2021 sensibilities at the door and get into the flick.
On a technical level, this film may not be great, but it has transcended it's limitations and has become something so much cooler. "Don't ask no questions why cuz I'm Super Fly" 8/10
The feel for the film is authentic, because well it is authentic. Superfly's outfits rock, as do his hair and sideburns. Oh yeah, and the car. What a cool car? Superfly-mobile!!!
Then there is the startlingly cool still frame montage to the tune of PUSHERMAN, which is one of the coolest Blaxpoitation theme songs. And then you have the dialogue. The political incorrectness was fantastic. I hate sanitizing of film that so many films take in today's world. Check your 2021 sensibilities at the door and get into the flick.
On a technical level, this film may not be great, but it has transcended it's limitations and has become something so much cooler. "Don't ask no questions why cuz I'm Super Fly" 8/10
Another Interesting Movie About Drug Deals!
SameirAli23 December 2016
A cocaine dealer decides to retire after making a big business.
This one of the best low budget movies. The movies prostrates the story of a cocaine dealer. He wants to retire and settle in a normal life with his love. For that, he is getting ready for the one final, and large deal.
The plus point of this film is that, there are no much "mass" in it. The protagonist is a "hero", but, no much build up is given, but a few. The tactics he uses in the climax was simply superb and heroic. I think this film made a way to many of this genre.
An interesting movie and worth watch for all film lovers.
This one of the best low budget movies. The movies prostrates the story of a cocaine dealer. He wants to retire and settle in a normal life with his love. For that, he is getting ready for the one final, and large deal.
The plus point of this film is that, there are no much "mass" in it. The protagonist is a "hero", but, no much build up is given, but a few. The tactics he uses in the climax was simply superb and heroic. I think this film made a way to many of this genre.
An interesting movie and worth watch for all film lovers.
Feet walking...hands passing telegrams...
Gangsteroctopus17 July 2007
To anyone out there who wants to see a seminal blaxploitation film: skip this one! This is one of the absolute DULLEST movies you will ever see. All the high ratings that people give this one, I gotta wonder what the heck they were smoking/snorting (some of Priest's blow, no doubt).
Just check under the 'Trivia' section where it's revealed that the script was only 45 pages long - thus all the footage of people driving, walking, etc. This recalls comments by notorious schlockmeister Herschell Gordon Lewis in an interview with John Waters in which Lewis recalls how he purchased an unfinished film called 'Monster A Go-Go' and filled out the continuity by shooting random, unrelated footage of 'feet walking...hands passing telegrams, etc.' This movie may as well have been directed by Lewis, for all the 'excitement' that it evokes. Gordon Parks Jr. could not hold a candle to his old man (R.I.P.).
So pass this one over and check out any number of GOOD blaxploitation pictures, like just about anything with Pam Grier ('Coffy', 'Foxy Brown'), or 'Black Shampoo', or 'Detroit 2000', or a Doris Day movie...
Just check under the 'Trivia' section where it's revealed that the script was only 45 pages long - thus all the footage of people driving, walking, etc. This recalls comments by notorious schlockmeister Herschell Gordon Lewis in an interview with John Waters in which Lewis recalls how he purchased an unfinished film called 'Monster A Go-Go' and filled out the continuity by shooting random, unrelated footage of 'feet walking...hands passing telegrams, etc.' This movie may as well have been directed by Lewis, for all the 'excitement' that it evokes. Gordon Parks Jr. could not hold a candle to his old man (R.I.P.).
So pass this one over and check out any number of GOOD blaxploitation pictures, like just about anything with Pam Grier ('Coffy', 'Foxy Brown'), or 'Black Shampoo', or 'Detroit 2000', or a Doris Day movie...
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