This review's title obviously refers to a famous Julius Caesar quote, and personally I think the greatest thing about "Black Caesar" is the subtle title reference towards the great historical leader. I deliberately state "subtle" reference, because the name itself isn't mentioned anywhere throughout the entire film, but the similarities between protagonist Tommy Gibbs and the Roman emperor are clever and relevant. Tommy also builds his own way to the top; in this case the conquering of a mafia empire that quickly becomes as over sized, cluttered and unmanageable as the Roman Empire. His methods are also merciless and strategic, but he also gradually transforms into a dictator feared by his loved ones as well as the target of conspiracies and assassination attempts. I don't know about you, but I think it's quite an ambitious and intelligent concept for a supposedly simple and low-budgeted piece of 70's exploitation trash! That being said, I have to admit that I nevertheless expected even more from this blaxploitation classic. I'm certainly not an expert in this domain, but I've seen the most important ones ("Across 110th Street", "Ganja & Hess"), the most outrageously entertaining ones ("Foxy Brown", "Truck Turner") and the passable ones ("JD's Revenge", "Blackenstein"). "Black Caesar" somewhat balances between the first two categories, as the script isn't solid enough to be important and not cool enough to be outrageously entertaining. Basically it's just Fred Williamson looking mean and shooting white mobsters in the chest so that he can take their place in the New York gangster hierarchy. During this process he abuses and scares off the people he initially wanted to protect, like his mother and childhood friend. The film features too many dull parts and repetitive sequences. Every conflict is solved with a bullet and end with a close up of a dead body covered in thick and bright red blood syrup. The most memorable sequences include the intro, with a teenage Tommy enrolling the criminal life, a virulent taxi/on foot chase in busy NY streets and a sadist final confrontation between Tommy and his nemesis. Other terrific elements for exploitation fanatics to enjoy are the swinging soundtrack (with James Brown's unique voice) and authentically raw and gritty set pieces. Williamson is excellent, of course, but Art Lund gives an even more impressive performance as the disgustingly corrupt cop McKinney. Larry Cohen's direction is uneven, but it was one of the first ventures of this multi-talented and versatile cult genius. There's a sequel entitled "Hell Up in Harlem".

Not one to miss on an opportunity, Larry Cohen's second feature film utilised the explosion of blaxploitation cinema after the successes of Sweet Sweetback's Baadasssss Song (1971) and Shaft (1971), and crafted his own "black" action film, modelled on the 1931 film Little Caesar. Fred Williamson plays the titular role, a boy from the streets, witnessing and being victim of brutality from the white community, and particularly a local police officer, McKinney (Art Lund). As an adult, Caesar's goal is to become kingpin of Harlem, and he won't let anything stand in his way.

The narrative is a story told over, which focuses on a person who looses everything in the pursuit of power, including childhood friends, wives, and particularly looses sight of the person that they are. It's always great to watch a Cohen movie from this period. When filming in the streets (in this case New York - of which is his usual setting), his guerilla-style is self evident: clearly in the making of these films, Cohen does not get any kind of permission to film, he simply turns up and does it. In one scene, Williamson has been shot, the camera follows him down the busy street from a roof top, and passers by seem to want to help him. It's these elements of exploitation cinema that I embrace.

Whilst this is certainly not one of Cohen's greatest (check out his horror output for some terrifically socio-political subtexts), the film oozes charm. Not only do we have the easy-cool of Fred Williamson, the film also has the ubiquitous Gloria Hendry , although not in her usual kung-fu-influenced fighting mode. Even though this film is less well known than Shaft or Superfly (1972), who's soundtracks were composed by soul giants Isaac Hayes and Curtis Mayfield respectively, Black Caesar's soundtrack is provided by the godfather of soul himself, James Brown: Break it down! Heeyyyyaa!!

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Fun blaxploitation from the 70's is a better mafia movie than "American Mobster", a fictional yalw of how young mob runner Tommy Gibbs (Fred Williamson) ends up hitman for the Sicilians, eventually taking over the whole canoli. He's victimized as a youngster by evil cop on the take Art Lund. Going from teen with his broken legs in a cast to hit man, he's violent in business yet charming in life, playing up to the big Sicilian bosses while biding his time for the big payoff, and when it happems, the big kahuna is in tears begging for mercy but vowing revenge. The next thing you know he's having all the other Sicilian mob associates rubbed out at a pool party and even confronts the father who abandoned him and his mother. The parallels to real life Harlem mob boss Frank Lucas is obvious, but this is fictional outside of the racial and occupational coincidences.

It's rather nostalgic to see the Harlem of the 1970's as it really was, not some backlit vision of what they make it appear to be. Gloria Hendry is beautiful as Williamson's love interest, and Julius Harris is excellent as Williamson's father, filled with regrets. Veteran stage actress Minnie Gentry, as his long suffering mother, is really touching, equally as movie as Ruby Dee was as Damsel Washington's mother was in "American Gangster". I can see why they wanted a sequel to theirs ("Hell up in Harlem", not as good but a guilty pleasure of mine), so I'm glad they change the ending. Good direction by Larry Cohen and nice to see the nasty racist cop Lund taken care of of appropriately. This is stylish, subtle and fast moving, even with the violence. A well done mob movie that is much more than just a typical blaxploitation cult film.