Shaft 1971 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

John Shaft, a private detective, is informed that some gangsters are looking for him. Police Lt. Vic Androzzi meets Shaft and unsuccessfully tries to get information from him on the two gangsters. After Androzzi leaves, Shaft spots one of the men waiting for him in his office building. He forces the first gangster into his office where the second gangster is waiting. During a short fight, Shaft dodges one of them who goes out the window, while the other surrenders and reveals to him that Bumpy Jonas, the leader of a Harlem-based organized crime family, wants Shaft brought uptown to Harlem for a meeting.

At the police station, Shaft lies to Lt. Androzzi and the detective assigned to the second gangster's death, by saying that the man was in an "accident". He is allowed to return to the streets for 48 hours. Shaft arranges a meeting with Bumpy in his office. It turns out Bumpy's daughter has been kidnapped, and Shaft is asked to ensure her safe return.

After tracking down Ben Buford as Bumpy suggested, a shoot out ensues; Shaft is told by Androzzi after the shooting that Shaft himself, and not Ben, was the target, and that tensions brewing between the uptown hoods belonging to Bumpy Jonas and the downtown Mafiosi have culminated in a couple of murders. But the perception is black against white to the general public, with the possibility of an escalation into full-blown race war. He also shows Shaft some pictures of two of the Mafia men who just arrived in New York. Vic begs Shaft to explain what's going on, although Vic already knows Bumpy is looking for Shaft.

Shaft surmises that mobsters are watching his pad from a local bar. Shaft pretends to be a barkeep and calls the police to have the mobsters arrested. Shaft later goes to the police station to set a meeting to find where Bumpy's daughter is being held captive.

Vic tells Shaft that the room that he was in at the station house was bugged and he is supposed to bring him in for questioning, but instead leaves. Ben and Shaft go to the apartment where Marcy Jonas is being held to make sure she is alive. Once there, a gunfight ensues during which two Mafia hoods are killed and Shaft takes a bullet in the shoulder.

Shaft goes home and receives medical attention from a doctor working underground with him. Shaft tells Ben to round up his men and meet him at the hotel where Marcy has been taken, to prepare to get her back. He also calls Bumpy to tell him his daughter is fine and he is going to need some taxicabs to meet him at the hotel for the getaway.

Shaft's plan resembles a military commando-style operation. Ben's men dress as hotel workers to avoid arousing suspicion. Shaft and one of Ben's men go to the roof and prepare to enter the room where Marcy is being held captive. Shaft's plan is to cause a distraction with an explosive thrown through the window of Marcy's room while Ben and his men come down the hall and deal with the Mafia men as they leave their rooms.

The rescue plan is successful. Marcy is spirited out of the hotel into one of the waiting taxicabs. As the others get away in the remaining cabs, Shaft walks to a phone booth to call Vic. Shaft informs Vic as a result of the rescue there will be a huge mess to fix between the uptown crew and the mob in the near future. Vic says to close it for him, meaning he wants Shaft to fix the trouble. Shaft replies, "You're gonna have to close it yourself" then hangs up the phone and walks away laughing.

The film was adapted from Ernest Tidyman's novels by Tidyman and screenwriter John D. F. Black. Joel Freeman and executive producers Stirling Silliphant and Roger Lewis produced the film.

"In Tidyman's original story Shaft was white, but Parks cast Richard Roundtree as the eponymous hero." The entire dynamic of the film, its later success, and the future of blaxploitation films were all greatly impacted by Parks' decision. Although his monumental decision proved to be a good one, Parks' control over Shaft's direction was limited. "Blaxploitation films from Shaft onward were largely defined by a relatively greater degree of corporate control and a relatively lesser degree of autonomy on the part of the filmmaker." This film was created less to impact black consciousness and more to simply to show a "'fun film,' which people could attend on Saturday night and see a black guy winning." Nevertheless, Parks said in the documentary about his work, Half Past Autumn (2000), that he had hoped the film would inspire young African Americans by presenting them with "a hero they hadn't had before." Shaft was intentionally created to "appeal to a black urban audience, along with contiguous white youths."

After production, in an effort to entice a large black audience to see the film, MGM hired UniWorld, a black advertising firm, who "popularized Shaft by using the rhetoric of black power." Although this film was notable for its crossover success with both white and black audiences, UniWorld focused largely on attracting members of the African-American community. "For example, Variety reported UniWorld's advertisement description of the protagonist John Shaft as, 'A lone, black Superspade—a man of flair and flamboyance who has fun at the expense of the (white) establishment.'" They also promoted "'the behind-the-camera participation of blacks,' thereby appealing to blacks who would appreciate the film as a black production or could fantasize that blacks had somehow beat the Hollywood system and taken over Metro-Goldwyn Mayer studios."

Roundtree's view about being in the film

When asked at the 2014 Virginia Film Festival how it felt to be cast as Shaft, Richard Roundtree responded that he had been extremely excited about the part at the time. He had previously been cast mostly in commercials and advertisements, and this role was a big break for him. It was not only the first major film for the actor but it was also the first time a black actor was cast in a major studio feature film.

Production

Melvin Van Peebles claimed that the success of his film Sweet Sweetback's Baadasssss Song caused Shaft to be changed from a "white movie" into a "black one". In fact, filming of Shaft began in January 1971, several months before the release of Van Peebles' film, with Roundtree already confirmed in the lead role. The story is set in the same month, as shown by a calendar on Shaft's office wall.

Tidyman, who is white, was an editor at The New York Times prior to becoming a novelist. He sold the movie rights to Shaft by showing the galley proofs to the studio (the novel had not yet been published). Tidyman was honored by the NAACP for his work on the Shaft movies and books.

Portrayal of race

Shaft played a crucial part in the development of African-American advancement in Hollywood. In the creation of Shaft, there was a significant African-American presence, with director Parks, editor Hugh A. Robertson, and musical composer Isaac Hayes playing crucial roles. On the other hand, white men controlled the most important aspects of Shaft's production. Scenarist and writer Tidyman, writer Black, producer Freeman, and executive producers Silliphant and Lewis were all white men who heavily influenced the making of Shaft. In an analysis of Shaft, Stanly Corkin stated, "Further, the reception of the idea of blackness also becomes various, defined by any number of subject positions, and again, those cannot be fixed to any particular racially defined place of origin." In other words, the perception of race depends on the viewer and thus differs between individuals. Since different representations of race appeal to different people, the film's white creators fabricated its representation of blackness in order to appeal to African American and white audiences alike. MGM was struggling financially during the making of this film, so making a profitable film was a necessity. "Under the devious guise of providing the Black American with a new and positive image of his/her life, these films confer upon the viewer, Black or White, little more than a pretended glamour and sophistication, the empty, repetitive wasteland of ancient Hollywood traditionalism."

Parks' decision to cast Roundtree rather than a white actor, for whom the role was written, instantly altered the presentation of race in the film. Critics, however, believed the plot was not altered enough to accommodate the change in racial dynamics. "Mark Reid, for example, argues that Shaft is a product of the (white) studio imagination and merely a 'black-skinned replica' of the white action hero commonly found in the detective genre."

One way that Shaft's blackness was showcased was through his attire. Shaft was "stylistically racialized: wears clothes and affects manners that are associated with being black". Shaft was known for his elegant garb, as he was frequently draped in leather coats and turtlenecks throughout the film. Although his smooth, classy look evoked a greater interest from viewers, it in no way represented fashion typical of the black community in that era.

Further, Shaft relies upon a group of militant black nationalists in helping him complete his mission to save Bumpy's daughter. The inclusion of a group so strongly identified with the Black Power movement was clearly an effort to appeal to black audience members. However, the film presented the black nationalists as a group that failed to further the blac