The Shaft

Starring:James Marshall, Naomi Watts, Eric Thal, Michael Ironside, Edward Herrmann, Dan Hedaya, Ron Perlman, Kathryn Meisle, Martin McDougall, John Cariani, David Gwillim, Peter Banks, William Vanderpuye, Wilke Durand, Todd Boyce, William Roberts (III), Greg Shore, Hanneke Riemer, Merel den Hengst, Cynthia Abma
Director: Dick Maas
Studio: Lions Gate
Product Type: DVD

Amazon.com essential video

Gordon Parks (The Learning Tree) directed this 1971 detective story about John Shaft (Richard Roundtree), an African American private eye who has a rocky relationship with cops, an even rockier one with Harlem gangsters, and a healthy sex life. The script finds Shaft tracking down the kidnapped daughter of a black mobster, but the pleasure of the film is the sum of its attitude, Roundtree's uncompromising performance, and the thrilling, Oscar-winning score by Isaac Hayes. Parks seems fond of certain detective genre clichés (e.g., the hero walking into his low-rent office and finding a hood waiting to talk with him), but he and Roundtree make those moments their own. Shaft had a couple of sequels and a follow-up television series, but none had the impact this movie did. --Tom Keogh

Customer Reviews:

Shaft was a little limp.......2007-05-13

I purchased this DVD because I love Gordon Parks' work and had not seen the film. I don't know how it faired when it came out but by todays standards it left a lot to be desired. I believe it was one of the first films with a black director. Considering all the wonderful things the man has done, I guess he is entitled to do something that wasn't great. Be sure to see Learning Tree and read his books.

This movie is Afrolicious!,.......2007-03-13

I always see this movie as a great Harlem detective story. Shafts pulsate with street-level lingo and a deep sense of conviction you can help but admire. In the great tradition of detective movies Shaft is clearly a hard-bitten loner who spars with friends and foe alike, then gets just what he wants from everyone.

Even though "Shaft" was an MGM release it was clearly intended for the black audience Hollywood had always ignored. The attitude of Shaft is what set it apart - it made no effort to court the white audience at all. John Shaft kept his mouth shut for nobody, and wasn't interested in carrying a civics lesson or being an ambassador from an alien race. He was openly promiscuous, keeping at least a couple of steady women on his string, and taking in the occasional admiring prostitute. He talked dirty, told white cops where to get off, pushed around the toughest of the black mobsters, and made mincemeat of adversaries both black and white. A year before "The Godfather," the Mafia of Shaft consisted of fairly accurate Italian goombah types; Shaft had no trouble letting loose with the ethnic slurs either. In other words, "Shaft" was a fresh dose of reality, in 70s parlance, 'telling it like it is.' This script showed no influence of studio influence, whatsoever.

Shaft has a good New York look. The overall atmosphere is great, a mixture of dingy, claustrophobic hotel rooms and neglected city streets. A lot of the action appears to take place around Times Square, which was quite a different place in 1970 - much rougher, much more rundown. Shaft must hold the record for the number of movie marquees on view in one film; I'd guess it was filmed in late Summer-Early fall with what's playing in downtown Manhattan. Roundtree fills out the role believably while the surrounding cast work well together, even if the stereotype line is occasionally breached. Several nice moments in the script carry the film over its dull passages, all leading up to a great ending.

There is a good deal of the Bogart characterization in Richard Rountree's portrayal..........2007-01-13

Shaft is a black private eye in the sleazy, downtown part of Brooklyn, and of all the new gumshoes trying to fill the Marlowe shoes, he probably comes nearest to the type of character devised by Dashiel Hammett in "The Maltese Falcon" and sharpened by Raymond Chandler in "The Big Sleep."

He is the kind of man of whom Chandler wrote: "But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid."

If Shaft is ever afraid, he does not show it... He moves through city streets on foot with the slim grace of a panther... He can hold his own with black man or white...

To the white police detective who looks sardonically at him and comments: 'You ain't so black," Shaft is quick to pick up a white coffee-cup, hold it alongside the cop's face, and reply: "And you ain't so white either baby."

The mood of the film is set in the beginning when Shaft, striding along the pavements, is asked where he is going. "To get laid," he says without pausing... At the end, almost the same situation recurs... He is asked: "Where've you been, man?" and he says: 'I got laid. "

The real point about Shaft, however, is that though the character does happen to be a black man, he could just as easily be white, red or yellow... Yes, some of the dialog would have to be altered if he were turned into a Charlie Chan, but that is not at issue... There is a good deal of the Bogart characterization in Richard Rountree's portrayal, blended with a touch of the Paul Newman's...

be honest -- dont you miss the deuce?.......2006-11-09

ok, once again im allowing my personal history to dictate my reaction to a movie. as a crime flick, its fun tho nothing innovative can be found here unless you count the skin color and the off-color dialogue (go see the gangster flicks of the early 30s if you doubt me here). but i remember the so-called dereliction of the deuce, and i LOVE the seedy look as a piece of nostalgia. odd, isnt it -- what we come to cherish as we grow old?

Another Private Eye Adventure.......2006-10-07

This 1971 film opens with traffic in wintry Manhattan. Detective John Shaft crosses the street and dodges cars. [Note how the prices mentioned are far out of date since Nixon's 1971 devaluation of the dollar!] Two "friends" are looking for Shaft, but they do not get what they want. One quickly leaves out of a window. Now the police interview Shaft to find out what happened. Shaft telephones "Bumpy" to arrange a meeting. Bumpy's daughter has been kidnapped, and he wants Shaft to get her back. Shaft searches for his friend Ben; the landlord (Gordon Parks) doesn't know. Shaft finds his old friend and asks about Marcy (Bumpy's daughter); Ben doesn't know. Shots ring out, and dying man falls into the room. The group scatters, but most are mowed down in an ambush. Shaft suspects a conspiracy theory is operating. Lt. Vic Andozzi tells Shaft what Bumpy tried to do. "Money always matters" says Bumpy as he makes a deal with Shaft.

Shaft picks up a telephone and dials a number to schedule a meeting.. [But there is no cord connecting to an outlet!] Shaft gets to meet Marcy, but his negotiations hit a snag. Later Shaft gathers a force to recapture Marcy from her kidnappers. Their scheme works with minimal casualties. Mission accomplished! The language used in this picture could not be broadcast then or now. [Usually such language signifies a damned soul.] Was this story a scaled-down version of the Trojan War and the search for Helen?

Average customer rating:

GOOD MOVIE
good movie
Could have been so much better!
Horrible Remake. Samuel Jackson is too old to play Shaft
Still the Man...

Shaft
Starring: Christian Bale , Philip Bosco , Toni Collette , Zach Grenier , and Dan Hedaya
Manufacturer: Paramount
ProductGroup: DVD
Binding: DVD

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Shaft
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ASIN: B00004Z1FX
Release Date: 2000-12-12

Amazon.com

Samuel L. Jackson makes a gleefully updated John Shaft in John Singleton's homage to (not remake of) the early '70s action classic, picking up where Richard Roundtree's legendary Shaft left off. The Manhattan-set film is highlighted by excellent performances, dynamic action scenes, and witty one-liners (Jackson's Shaft: "It's my duty to please the booty"--although the line's deceptive: there's a surprising lack of sex in the film). Unfortunately, it's offset by a surprisingly uninspired, predictable, one-dimensional story, penned by Singleton, Richard Price, and Shane Salerno. The story, in which Shaft investigates the murder of a young African American, is without suspense, since from the start the audience knows that rich white boy Walter Wade (Christian Bale) did the deed, and that Shaft is going to kick his ass, big time. That said, charismatic performances--from Jackson (who, in keeping with the times, is more volatile and fiery than his predecessor), Toni Collette (as a frightened witness), the villainous Bale, and the utterly amazing Jeffrey Wright (Basquiat)--make the film enticing and watchable. Look for a cameo by the original Shaft's director, the legendary Gordon Parks, and fans of the original should note that a still stunningly handsome Roundtree briefly appears as Jackson's uncle. --N.F. Mendoza

Customer Reviews:

GOOD MOVIE.......2006-10-15

This was an entertaining movie, which is more than I can say for some other movies that get rave reviews. I guess everyone sees things differently, therefore, form different opinions. Compared to Shaft of the past, this one doesn't stack up, but I don't think the intent was to compare.

Answer to L. Gontzes comment...I would assume the reason for there not being a nude scene with the lovely (not so lovely in this film) Vanessa Williams would have something to do with the fact that she was very much pregnant during filming! notice they tried not to shoot any shots of her from the waist down?

N-E-Wayz...this film had several different elements to appeal to a diverse audiences. I would recommend to others.

This is the second posting of my review. My first review was accidently given **. I deleted and reposted, in order to keep the low rating from affecting the overall average........

good movie.......2006-06-03

This movie has a lot of meaning behind it. The actors put on a really good show. Movie is lacking special effects but that does not hurt the quality in any way. Story keeps on unfolding in unexpected ways.

Could have been so much better!.......2006-03-24

I have to say that I am not familiar with any of the old Shaft episodes, or had had any other contact with the character apart from this movie so I cannot make any comparisons to other sources, nor can I take part in discussing the technicalities and the specifics like other reviewers have. Therefore, coming from someone that did not "know" of Shaft prior to the film I have to say... that I was rather disappointed!
The acting is about average with the exception of Samuel Jackson who carries out his performance very well (as always), and Jeffrey Wright who really steals the show as Basquiat, the gangster.
Regarding the plot, it is weak; the chances that the character, Walter Wade Jr., would provoke and then deliver as he does are way beyond "slim!" The desperate need to demonize what W.W. Jr. represents gets tiring after the first 1000 or so movies! Enough is enough! The same applies for main characters with "chips on their shoulders!" Let's move on please!
As for having Vanessa Williams (who is GORGEOUS!) play in this film and not have a single nude scene (in this R Rated movie!) with her is such a WASTE!
Though the potential for a great movie was definitely there it fails to take off. A shame really... No masterpiece here.

Horrible Remake. Samuel Jackson is too old to play Shaft.......2006-02-25

What was John Singleton thinking. I know he produces good films but this is far worse. The Shaft from the 70s was sexier, cooler, more aggressive, and classer than Jackson. This was a watered down verison where Parks and Roundtree made cameos. It's almost to the point they take the blackness out of the character. No love making and ect. Don't even waist your time! If you want to see it, check it out on cable tv or something. Save your money!

Still the Man..........2006-01-10

Who delivers ten times out of ten? The answer to is easy, only one man can, Shaft. Throughout the 70's Richard Roundtree made a huge career playing that very man. Now over 20 years later, Shaft is reborn, this time with Samuel L. Jackson taking over the title role. Director John Singleton ("Boyz `N' the Hood" and "Four Brothers") has taken Shaft out of the hip 1970's and into the year 2000 without the character losing any of his edge.

"Shaft" is about detective John Shaft (Samuel L. Jackson), the coolest detective on the police force. When the racist son (Christian Bale) of a powerful politician kills a young black man, Shaft will stop at nothing to bring the scum to justice. There are two problems though; one the suspect has skipped the country, and two the only eyewitness (Toni Colette) has gone into hiding for her own safety. To solve this crime Shaft is going to have to enlist the aid of his mentor/uncle, also named John Shaft (Richard Roundtree reprising his role from the original films), together with some other friends and people that owe him favors, Shaft will stop at nothing to ensure that justice has been served.

When another "Shaft" film was initially announced, many critics and fans simply wrote it off as another remake or another worthless sequel. With director John Singleton swearing that this "Shaft" would not be just a rip-off of the movies from the 70's, but would in essence be a sequel set in the present day, and featuring a new Shaft. This of course led to more criticism, until Samuel L. Jackson signed on, once that happened the critics were silenced and anticipation began to grow for this new `Shaft' film. The story is fast paced and strong, and the idea of having the original Shaft, Richard Roundtree reprise his role, but is an uncle to Sam Jackson's younger Shaft, was a stroke of genius. Fans of the original films were not disappointed by this newest sequel, and movie audiences that had never seen the original films had no problem following the storyline, since this was essentially a standalone movie. The actors were all very good, Samuel L. Jackson never disappoints of course, and Christian Bale, Vanessa Williams, Richard Roundtree, and even Busta Rhymes all turned in solid supporting performances.

In the end, if you enjoyed the original series of `Shaft' films, or even if you've never seen them, but are interested in this one, you will not be disappointed if you choose to sit down and watch this modern version of Shaft.

"Shaft" is rated R for violence, language, and brief nudity/sexuality.

Average customer rating:

Can You Dig It?
Good Film!!!
Hot!
I DON'T KNOW WHAT TO SAY ABOUT THIS ONE
Nu Yawk's Koolest

Shaft's Big Score
Starring: Thomas Anderson (II) , Don Blakely , Thomas Brann , Drew Bundini Brown , and Evelyn Davis
Manufacturer: Warner Home Video
ProductGroup: DVD
Binding: DVD

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Shaft
Shaft in Africa
Superfly
Cleopatra Jones
Foxy Brown

ASIN: 0790746689
Release Date: 2000-06-06

Amazon.com

When a pal of detective John Shaft is murdered in a bombing (and $250,000 in cash turns up missing), New York's coolest private eye finds himself caught in the middle of a power struggle between black and white gangsters over the numbers racket in Queens. Directed by Gordon Parks (who does a brief cameo as a croupier in an illegal casino) and written by Ernest Tidyman (both of whom did the original Shaft), this film lacks the pacing of its progenitor. Roundtree is at his best when he's questioning a woman he's just met about a suspect while at the same time beguiling her into the sack (ah, those lazy, crazy days of the sexual revolution). The finale--a shootout in a cemetery, followed by a car-boat-helicopter chase through Queens and up the Harlem River--is preposterously drawn-out: Shaft, impervious to machine-gun fire, winds up tripping, spraining his ankle, and limping while running from the chopper; two shots later, he's sprinting like a halfback. Look for late Muhammad Ali trainer Drew Bundini Brown as a wise-cracking mobster. --Marshall Fine

Customer Reviews:

Can You Dig It?.......2006-05-27

Shaft's Big Score is a decent sequel, but the pacing is a bit slow at times. You can't beat The Theme From Shaft, but Big Score has got some tight music in it, keepin' it funky for the Private Dick whose a brotha man. Bumpy and Willie, my two favorite characters are back, and Bumpy is still tolerating Shaft while Bumpy maintains his hilarious disrepecting of him. About midway through is one of coolest scenes ever-Shaft is getting worked over backstage at a nightclub by Mob goons while the shots cut back and forth between busted jaws and writhing exotic dancers. The whole scene is scored with a heavily funky tune about the fuzz comin' 'round and what you gonna do when the mace comes down. Obviously, then you gotta just disrespect the Man and check this movie out.

Good Film!!!.......2005-08-20

Can you dig it! Gotta love the action in this one. Better than the first one!!!

Hot!.......2004-10-15

Of all of the movies that I own, I keep coming back to the Shaft movies. I wish that they could have made more of them. Don't listen to others, this one is just as good as the first one!

This is the typical story of the black man against the Italian-American(black blood is on them also..) for control of the ghetto. This one is good because it takes a look into black people with money in the early 70's. This film has action, sex, story, chases and a mob boss who doe snot mind you talking sh*t to him, but touch his food or matrial items and he is pissed!

If you like black exploitation films or if you are white and you like raw action films, get this. Shaft is Africa was a little different(could be why they never made another), but still ok. Shaft's Big Score should be your score.

I DON'T KNOW WHAT TO SAY ABOUT THIS ONE.......2003-09-08

AFTER SEEING HOW ENTERTAINING THE ORIGINAL ''SHAFT'' WAS, I WAS DISSAPOINTED BY THIS SEQUEL. THIS TIME, SHAFT INVESTIGATES THE MURDER OF AN OLD FRIEND. SOMETHING THAT MADE THE FIRST FILM SO ENJOYABLE IS SIMPLY JUST MISSING FROM THIS ONE. THIS FILM IS MEDIOCRE AT TIMES, BUT THANKS TO RICHARD ROUNDTREE'S LIKABLE PERFORMANCE, AND THANKS TO THE EXPLOSIVE FINAL HALF HOUR, THIS FILM IS WATCHABLE. ONCE AGAIN, THE THEME SONG IS A HIGHLIGHT. FOLLOWED BY SHAFT IN AFRICA.

Nu Yawk's Koolest.......2002-04-19

Back in prehistoric times, John Shaft was the role model if you was a nice guy, Priest from Superfly was the man if you was dreaming of livin' the life. Shaft's Big Score the followup to the Cool Black crimefighter series, is a slickened up version of the much more grittier original. Still, the bad ... gets off. The climatic chase has been "rescene" in dozens of later films from Hollywood and around the world and Mr. Parks still doesn't get the proper props for bringing to the screen a cultural icon that despite time and Singleton's "nephew" is still the Man. The late Reverend O.C. Smith is too countrified for singing a Big City theme but the powers the be didn't want to pay Isaac"Black Moses-Voice of ... Reason Chef from South Park" Hayes asking price. But there is a tease of what it might of been in the club scene where somebodys' girlfriend swirls to the early '70s funk. Never mind the usher pass the joint and hand me the gin Shaft Big Score is smokin' Jim.

Average customer rating:

One of the best in the series
A CHANGE OF PACE FOR SHAFT
Bravo for Shaft!
Worth it for one line
John Shaft Plays James Bond in Africa

Shaft in Africa
Starring: Richard Roundtree , Frank Finlay , Vonetta McGee , Neda Arneric , and Debebe Eshetu
Director: John Guillermin
Manufacturer: Warner Home Video
ProductGroup: DVD
Binding: DVD

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ASIN: B00004STIG
Release Date: 2000-06-06

Amazon.com

The second sequel to the hit Shaft, this film foreshadows itself early on when Shaft, asked to go undercover in Africa to halt modern-day slave trade, claims that he's not James Bond but strictly Sam Spade. Bond, however, is the operative model here, with John Shaft masquerading as an Ethiopian to infiltrate the slave business and bring it down. Yet everyone he encounters seems to know who he is and wants to kill him--but the string of dead bodies he leaves in his wake across two continents proves that no one is able to stop everyone's favorite hip private eye. Written by Stirling Silliphant, the film is long on action set pieces that are filmed with more energy than in Shaft's Big Score. Given contemporary practices involving smugglers of illegal Chinese and Mexican immigrants, the plot isn't all that far-fetched. Roundtree, as usual, is the picture of unflappable cool--but don't get him mad. --Marshall Fine

Customer Reviews:

One of the best in the series.......2005-08-20

I have to say, this one is my favorite of them all. The action, sex, and violence!! The original black superhero!!

A CHANGE OF PACE FOR SHAFT.......2003-10-06

THIS TIME, JOHN SHAFT [RICHARD ROUNDTREE] IS FORCED TO GO TO AFRICA TO INFILTRATE A 20TH CENTURY SLAVE CARTEL. I THINK IT'S GOOD THAT THEY TRYED TO DO SOMETHING DIFFERENT WITH THE SERIES. THOUGH IT STILL PALES IN COMPARISON TO THE ORIGINAL, IT'S STILL A DECENT ACTION FILM.

Bravo for Shaft!.......2003-07-07

Shaft does it again! He brings his street sense to Africa and woos an African princess in the process...and right under the watchful eye of her bodyguard! Too smooth! I was actually craving for more after this one...who knows, he might have done the same in Europe had more had been produced! Richard Roundtree was truly one of the hottest names in the business at that time as John Shaft. Get the other two as well to complete the collection ("Shaft" and "Shaft's Big Score").

Worth it for one line.......2002-12-29

Shaft is discussing an impending female circumcision with the African princess and suggests "We put a little wear and tear on that thing before they cut it off". SMOOOOVE

John Shaft Plays James Bond in Africa.......2002-01-24

Though the second sequel to "Shaft," there's no remaining trace of the first two "blaxploitation" films. "Shaft in Africa" looks more like a big-budget 007 film, and instead of Roger Moore, put Richard Roundtree in the hero's role.

The pair of director John Guillermin and writer Stirling Silliphant will definetely reminds you of "Towering Inferno," pinnacle of the "disaster movies" in vogue in the 70s, and "Shaft in Africa" has the same feeling -- it is packed with actions and violence, plus costly set (or shots on location). This time Shaft, in order to stop the modern-day slave trading in Africa, has to endure a chains of brutal attacks from enemies and the scorching heat of Afraica. The globe-trotting story leads him from NYC to Ethiopia, and then to France. And Shaft doesn't forget that he is THE sexy guy; Shaft's love is played by beautiful princess Vonetta McGee, and he even spends a good time with a white girl in bed.

If you expect "blaxploitation" films in "Shaft in Africa" you may be diappointed. It is no longer that. The total tone is nearer to films of James Bond (to which Shaft refers briefly) and actions never stop coming on screen between Shaft's one-liners. As far as the actions are concerned, it never lets you down, and you will see unique things here and there that you can find only in the 70s: in one scene Shaft, completely naked, proves that he can do stick-fighting (!).

Amazon.com

The Pennsylvania Miners' Story gives a realistic and heartfelt depiction of the true story of nine men trapped in coal mine. After breaking into a water-filled abandoned mine, the nine miners struggle to stay alive while rescue crews fight against time to drill down. There are no surprises to the story, but the harrowing circumstances of both the trapped men and their wives and children up above is made acutely, powerfully clear. What could be mawkish--for example, one shivering miner realizes he didn't kiss his wife goodbye that morning--is given compelling emotional weight by the movie's straightforward realism and solid performances by a largely unknown cast (the most famous face is probably John Ratzenberger, from the TV show Cheers). Only the hardest heart could remain unmoved. --Bret Fetzer

Description

Experience the unbelievable but true account of hope, friendship, and courage that captivated an entire nation in THE PENNSYLVANIA MINERS' STORY. Relive every gut-wrenching, heart-rending minute of the ordeal when a close-knit group of nine coal miners accidentally punch into an old mine shaft that's holding back millions of gallons of trapped groundwater. Now tragically trapped themselves in claustrophobic four-foot-high shafts, time becomes the real enemy. As their families gather above ground, the miners must battle rising water, hypothermia, "black damp," and the odds below -- armed only with the will to survive.

Customer Reviews:

Pennsyvania Miner's Story.......2007-01-17

This is a very good movie based on a true story. Trapped miners and what devestation it causes for the families not knowing whether they are a live or not after 5 days.

Real Life Thrills.......2005-04-12

This made-for-tv movie is based on a real life incident in 2002, when nine Pennsylvania coal miners were trapped for three days when water flooded their mine. Partially shot at the Quecreek mine, where the accident happened, this movie is a realistic look at what the miners had to do to survive, as well as what their families went through while waiting for the miners to be rescued.

At just 90 minutes long, this is a fast paced and thrilling movie. The miners and their families are introduced in quick segments at the beginning of the movie and then the film moves right into the mine flooding and the miners struggle to say alive. The film alternates scenes in the mine with scenes of the miners families waiting at the fire hall for news of their loved ones.

The filmmakers do a good job filming the scenes with the trapped miners to the point where I felt claustrophobic watching some of the mine scenes. Even though I knew the miners all got out safely, I was on the edge of my seat watching them struggle in the water. The scenes with the families are, with one or two exceptions, emotional without being cloying.

I really enjoyed this movie and recommend it to fans of movies based on real-life events.

Great Mine Rescue Documentary!!.......2003-07-31

This is a great mine Rescue documentary.Check it out!!

Great Mine Rescue Documentary!!.......2003-07-31

This is a great mine Rescue documentary.Check it out!!

Average customer rating:

Disappointed
"BEYOND VANILLA": TAKE A WALK ON THE SEXUAL WILD SIDE!
A good try...
Amazing film about sex

Beyond Vanilla
Starring: Mitch Banning , Celeste , Chloe , Bud Cockerham , and Casey Criste
Manufacturer: Strand Releasing
ProductGroup: DVD
Binding: DVD

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ASIN: B0000D0YWW
Release Date: 2003-10-28

Description

Beyond Vanilla explores the kinkier aspects of sex on the other side of vanilla. With interviews, demonstrations, and a good dose of how-to instructions, this documentary covers the gamut of fetishes and S&M practices. For the curious, the voyeur, or the enthusiast, this is a fascinating journey into the world of high performance sexual athletes, where the boundaries of gay, straight, bi, or transgender seem almost irrelevant. Open your mind and the rest will follow . . .

Customer Reviews:

Disappointed.......2006-05-09

I purchased this movie for research purposes for a school paper and was highly disappointed. It only targeted the male "dark side" so I was not able to compare men and woman fetishes. It was a bit disturbing, but for the most part it was kind of boring.

"BEYOND VANILLA": TAKE A WALK ON THE SEXUAL WILD SIDE!.......2004-10-22

"BEYOND VANILLA": TAKE A WALK ON THE SEXUAL WILD SIDE!

Strand Releasing has done it again. The renegade film distributors never let us down when it comes to bringing pieces of cinematic rebellion to the big screen. The latest of these films is "Beyond Vanilla", from Swedish filmmaker Claes Lilja. In the director's own words, the movie "explores the kinkier aspects of sex on the other side of vanilla." The movie comes to life mainly through its colorful cast of diverse subjects, who describe their sexual proclivities and adventures (Note how I say "adventures" and not "experiences"!) to the audience, often with great delight. Interspersed with the interviews are demonstrations and film clips of the wide range of discussed activities. "Beyond Vanilla" is informative enough to pass as a "sex-ed" film, albeit one that goes WAY beyond the basic concept of man and woman in the missionary position. You may have already known, for example, that most of the people that take on the submissive (or "bottom") role in S&M are usually "control freaks" at their day jobs. You may even know that most of the men and women who get involved in outre sexual practices usually discover them relatively later in life (30's and beyond). But I'll betcha didn't know, for example, that "watersports" is probably the safest form of sexual play. Despite the educational aspects of the film, there's enough sexy male and female bodies in "Beyond Vanilla" to guarantee a rise in your jeans. A film that enlightens AND arouses? Who could ask for anything more?

Beautifully shot on digital video, "Beyond Vanilla" starts out with a feel that's a bit too "documentary-like", with too many talking heads and not enough action. But it then (intentionally?) gets more dynamic-- and more graphic. There are no extended sex scenes, with the longest of the most explicit stuff lasting a few minutes. It's often what we HEAR-- via the descriptions of the sexual habits of the participants-- rather than what we SEE on the screen, that have the maximum impact.

"Beyond Vanilla" starts with discussions of the fetishes/practices that are slowly infiltrating the mainstream: leather and BDSM (bondage/discipline/dominance/sadism/masochism). The film continues on to such wince-inducing activities as flogging, piercing, blood play, fire play, and electric shock play. A big theme in the afformentioned fetishes is "transcendance through pain", a phenomenon which many viewers will no doubt find hard to comprehend. Yet through the words of the participants--who hold their fetishes in very high regard-- the audience at least get to meet the concept halfway. We understanding it a bit more, if not necessarily embrace the idea of it as appealing. "Beyond Vanilla" then goes into such obscure activities such as catheter play (which stimulates the urethra), fisting, watersports, and finally, what's most likely (and thankfully!) the least popular of the fetishes, SCAT. Mercifully, Lilja doesn't show us any.

Over 100 subjects are seen in "Beyond Vanilla", ranging in age from the 20's to borderline elderly. All sexual tastes and orientations are represented. In fact, using terms like "gay", "lesbian", or "bisexual" to describe many of the subjects in this flick is somewhat pointless. Many of these sexual rebels put classification-- by gender or sexual orientation-- secondary to their own personal sexual identity as an individual. Among the more familiar faces in "Beyond Vanilla" include Nina Hartley, legendary actress of adult films (and Registered Nurse!), who mainstream cinemaphiles may recognize as the wife of a tortured William Macy in "Boogie Nights". Adult film star Chloe, one of the more popular starlets in XXX today, is also here. Gay adult film director and drag performer Chi Chi LaRue, out of drag in this movie, also appears to give her point of view. Interestingly, it's sometimes NOT the well-known participants of "Beyond Vanilla" that have the most impact, but the "ordinary" people. In one segment, an unassuming housewife in a Disney print sweatshirt talks about her affinity for S&M and strap-ons. In another segment, a straight-laced-looking lady with a PhD in Sexology goes into the mechanics of fisting... perhaps being a bit too descriptively! The incongruency of these mild-mannered women juxtaposed with their vivid sex talk is often unintentionally hilarious. But hands down, the most outrageous character in "Beyond Vanilla" is a huge, self-described "bigendered" guy (although technically a female-to-male transexual) with a beard, shaved head, and many piercings and tattoos. He uses a penis pump on his enlarged clitoris-- a site NOT for the squeamish. Along the way, experts in the areas of psychology and medicine give us a few facts and debunk some myths, such as the misconception that stretching the sphincter muscle (in fisting, etc.) will cause incontinence.

Open-minded viewers (And frankly, I can't imagine any other kind of viewer actually sitting through "Beyond Vanilla") will definitely appreciate seeing how the "other half" lives. But then again, the film makes you wonder exactly how UNCOMMON these assorted practices really are. One of the subjects in the beginning of "Beyond Vanilla" is a 20-something, "all-American"-looking guy who comments about how at face value, you'd never know he was into some kinky sexual practices. Makes ya think, huh?

A good try..........2003-11-17

'Beyond Vanilla' does very little to 'debunk' the misconceptions the general public has about the lifestyle, and gives very little information that anyone who is in the lifestyle for more than a year probably doesn't already know. As such, it does little to satisfy either side of the equation.

Another problem is probably 75% of the content is focused on gay male activities. While that is fine for gay males, it leaves out a very large part of participants in the lifestyle. The one straight male Dom that is interviewed feels as someone chosen primarily on his looks, as opposed to any great skill or knowledge, as evidenced by his calling the falls of a flogger 'bristles'. Even my friends who have participated in the lifestyle for only a few months laughed at that statement.

Overall, it's a good try, but doesn't do justice to the people, diversity, or breadth of the lifestyle.

Amazing film about sex.......2003-10-31

I first saw this film in the movie theater in New York and was amazed at how well it explains an extremely wide range of sexual possibilities. I walked away from this film with a whole new point of view on sexual orientations and activities. It does a great job of erasing traditional boundaries and pushing your understanding further. I just got the DVD today and the quality is superb. The extra footage was very well executed and interesting as well. Everyone should see this film regardless of sexual orientation and interests. It explains what kink is REALLY about in a way that anyone can understand. Don't miss this one!

Average customer rating:

A triumph!
Nowhere to Go But Up
Well of course *I* liked it
For Viewers-It Brings You "Down" and Gives You "The Shaft"
Much better than I expected! Really got surprized!

The Shaft
Starring: James Marshall , Naomi Watts , Eric Thal , Michael Ironside , and Edward Herrmann
Director: Dick Maas
Manufacturer: Lions Gate
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The Wyvern Mystery
Strange Planet
Ellie Parker
The Hamiltons - After Dark Horror Fest
Under the Lighthouse Dancing

ASIN: B00008RUYS
Release Date: 2003-05-20

Amazon.com

Naomi Watts had not yet been put through the paces with David Lynch or The Ring when she made this 2001 thriller about an elevator with a malevolent spirit. It's essentially an English-language revamp, by the Dutch director Dick Maas, of his very fun 1983 movie The Lift. Set in pre-9/11 New York, in a fictional 102-floor high-rise, it's yet another lesson in why man should never tamper with combining computer chips and human tissue. Unfortunately, this lesson is pretty dull, cramped by stilted dialogue and a plodding pace. There's one great action sequence with an elevator car racing upward as its floor drops out, and Dan Hedaya, Ron Perlman, and Michael Ironside lend their indelible mugs for some character-actor juice. Watts provides a bit of playfulness, but it would take Mulholland Drive to unlock the more compelling part of her personality. The Shaft finds her still on the ground floor. --Robert Horton

Description

When the express elevator in the 102-story Millennium Building begins to malfunction, the management sends in a mechanic to solve the problem, but not everyone is happy about it - especially the elevator. After several of New York's finest are killed, the government, fearing terrorism, seals off the building. Now it is up to the mechanic and a reporter (Naomi Watts) to face an enemy whose bloodthirst is only met by its unpredictability...an enemy that is determined to fight off any intruder looking for the dark secret that lurks in the belly of THE SHAFT.

Customer Reviews:

A triumph!.......2006-06-24

A masterpiece which gives me renewed hope for my own script about eldritch events in a men's can called "Urinal of Terror," and its sequel, "The Haunted Break Room."

Nowhere to Go But Up.......2006-02-17

"The Shaft" is definitely one of the dumbest movies I've ever seen. The premise about an elevator with demonic powers is just plain silly. It's difficult to believe that someone actually pitched this idea to a studio, and it was green-lighted. It's as bad as any desperate attempt by Irwin Allen to make a disaster movie back in the 1980s.

The dialogue is so laughable and the acting is so wooden, it's amazing that Naomi Watts's career survived. I have been a big fan of Naomi Watts ever since I saw her in "King Kong" and "21 Grams." I'm glad I saw those films before seeing this one on a late-night cable channel.

While "The Shaft" is a stupid movie, it's not without its redeeming qualities. There are some good if gruesome special effects involving the elevator decapitating a security guard and the elevator racing to the roof of the building with its passengers meeting their doom.

And since everything seems to be played tongue-in-cheek, the filmmakers don't expect us to take any of it seriously, so we can laugh at this movie without claiming that the humor is unintentional.

My complaint is not that the humor is unintentional, only that it is unfunny and flat.

Well of course *I* liked it.......2006-01-19

I say this a lot, but man ya gotta wonder what a lot of the most negative reviewers were thinking when they decided to watch the movie about the murderous elevator. It's corny, you say? Cheesy? Silly? It is really? Geez, thanks for the input. You'd hope that people would be expecting, nay, wanting something cheesy when they rent the killer elevator movie, but apparently this isn't necessarily the case.

So, obviously, 'The Shaft doesn't work as a straight horror film, but it is quite delightful as a camp horror film. I'm not 100% certain how we're supposed to take this film. It's definitely at least a horror-comedy but it might be an out and out parody. Personally, I get the impression that it is intentionally ambiguous as to its true nature in an attempt to appeal both to the pure camp crowd and the utterly indiscriminate horror fans. No matter what the case, I found it quite entertaining. Whether or not you'll like the film is a tougher call. I suspect the best way is just to ask yourself if the idea of a haunted elevator is amusing to you or not. If it is, go see this movie right now.

Sadly, this movie doesn't have as much elevator action as you'd anticipate. Certainly, it has it's share, perhaps enough for an 80-90 minute film, but this thing is like 110 minutes and really emphasizes the investigation. Now this stuff is still pretty cool and all, but we need more flaming death elevator. I also think it's cute how this movie is as long as it is, and yet it hardly explains anything. There are basically 3 questions you might have: Why are the elevator's sentient? Why do they have magical powers? And why do they wanna kill people? The film only answers the first question, and while I doubt they could've made intriguing answers to the next two ones I think it's funny that they don't even try.

This movie has more people you might've heard of than you'd expect for an direct to DVD horror film. It's got a then unknown Naomi Watts, Ron Perlman, Dan Hedaya, Edward Hermann and Michael Ironside. (Even if you don't know those names I bet you'll recognize some of the actors when you see them.) The performances are generally pretty over the top, as well they ought to be, and really bolster the amusing dialogue. (Also, Watts is pleasant to ogle, as usual. More so than usual, as a matter of fact.) A few of the deliberate jokes are almost painful, but it's got plenty of funny lines, regardless of whether they were all intended to be funny. Also, there's comes a point where if you say a single word enough times (in this case 'elevator', obviously) it becomes funny for no apparent reason. I also enjoyed the insensitive references to terrorists and the shots of the WTC. (This film was shot shortly before 9/11)

I also like that this film is a bit more juvenile and cruel than your average horror film. It's great that Maas kills a dog in the film. People always flip out when you hurt or kill an animal in film and I've always hated that reaction. It's loose enough this way that when the adorable little girl goes near the elevators, I actually believed that she might get wasted.

This movie is full frame, for some reason. What sorta company releases a film in full frame alone in the year 2003? They shouldn't be releasing them like that at all until all the stupid full framers just convert. This is especially annoying since this movie was apparently shot in 2.35:1 unlike most cheap horror films which are merely 1.85:1 and don't suffer nearly as much from being cropped. But oh well, I doubt it had any fantastic cinematography that I missed out on due to this. Also, the only extra this comes with is the trailer. It's a good one however. If you weren't excited to see the movie about the evil elevator before, you will be. Very soon. In fact, the trailer makes the movie look like it's gonna be more awesome than it is.

Well that's it. 'The Shaft' is just good campy fun. I'm surprised it's not better known than it is. This sorta wackiness if the kinda thing camp film lovers dream about. Ah well, maybe in a couple years...

Grade: C+
(Note, grades on camp films and good-bad films are generally pretty meaningless from me. I've never come up with a real system for it. Suffice to say I enjoyed this a lot.)

For Viewers-It Brings You "Down" and Gives You "The Shaft".......2005-08-09

Before Naomi Watts became a big star from excellent performances in excellent films like "Huckabees", "Mulholland Drive", and "21 Grams" she was delivering excellent performances in a lot of garbage movies like "The Shaft". And while her performance here does not save the movie, it does elevate (bad pun intended)it to a viewable level.

The only other reason to watch this thing is as yet another example of the film-making phenomenon that big is not only not better, but much worse. Which is probably related to the human interest angle in journalism, where a large disaster cannot sustain interest as long as the same story on a smaller more human scale.

For those who don't already know it, "The Shaft" or "Down" is Dutch Director/Writer Dick Mass's remake of his 1983 classic "De Lift". One posted comment about the original says: ".... looks technically proficient, with fine color texture, smooth cinematography ( by Marc Felperlaan ) and tight editing ( by Hans van Dongen ), elements that help to maintain a high level of suspense. The story clearly echoes Jaws, with its obsessed hero and corrupted authority figures, who would rather disguise the truth than face it. Despite this movie being his debut, many of Maas's personal trademarks are also already in place: quick pacing, sadistic gore effects modified by edgy humor, mild satire on bourgeois preoccupations, and broadly etched supporting characters".

Apparently the title "Elevator" was already taken and "Lift" was too European so he was left with two very stupid titles for the remake, with which the distributors have experimented to no positive effect.

In the 1983 version, the elevator of an Amsterdam flat (another European term) misbehaves badly. The elevator begins trying to crush, suffocate and decapitate passengers. Fearless mechanic Felix does battle with the seemingly haunted machine. But the anti-technology twist is that the elevator has developed a mind of its own due to an experimental 'biochip'. Felix is assisted by a magazine reporter named Mieke de Beer ( wasn't that the name of Scotty's German pen pal in "Eurotrip"?).

The original was shot in just 30 days with a very limited budget, this constrained the production resulting in an intimate story, viewers identified with the characters and this greatly enhanced the suspense level. This time someone gave Maas a lot of money and he pumped up the production; moving it to New York, adding tons of unnecessary effects, making the elevator absurdly powerful, and geometrically increasing the size of the cast. The Amsterdam elevator was deadly but in ways that a malfunctioning elevator could be deadly. The new elevator is like a cross between a James Bond story and a poor 1950's science fiction film.

Not surprisingly the human interest wheels fall off immediately. If you ignore your strong impulse to bail you will see decent performances from Watts and the from various character actors who populate the cast.

Unfortunately for Mass, he choose New York City for this 2001 movie and deviated from the original by throwing in some misdirection about terrorists being behind the elevator accidents. There is even a line about the first bombing of the World Trade Center. Apparently this was embarrassing enough to insure that there was no theatrical release.

Then again, what do I know? I'm only a child.

Much better than I expected! Really got surprized!.......2005-06-23

I had this DVD in someway and I used to think that it's a cheap movie, so I'd never watch it till tonight that I felt watching a cheap short movie. and I got surprized! This was good, really good. it's not a cheap movie, Although the scenario could be more reasonable but overall it was very good. Actings, directing, production, Visuals, scene design, everything was very good. some new famous horror movies like "THE RING" are not more reasonable than this. although It's good to mention this is rather an action movie than Horror! cause it's not that scary. I'd decieded to sell my DVD after watching it and now I'll keep it. anyway Still I can't recommand this movie for buying at that expensive price. but It's really worth to be rent!
some words about the DVD! It's a dual-layer but simple DVD. menu is very primitive. there is no special features but a trailer. and the movie presented in Fullscreen which makes you feel watching a TV production at first minutes. I think this movie deserves a better DVD release!

Samuel L. Jackson Ultimate Collection (Coach Carter / Shaft / Rules of Engagement)

Average customer rating:

Shaft is the Man

Samuel L. Jackson Ultimate Collection (Coach Carter / Shaft / Rules of Engagement)
Starring: Samuel L. Jackson
Manufacturer: Paramount
ProductGroup: DVD
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A Time to Kill
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Face/Off
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ASIN: B000BNX4MM
Release Date: 2006-01-10

Customer Reviews:

Shaft is the Man.......2006-12-09

The story starts out exciting enough, with Shaft (Jackson, sporting tough goatee and bald head, really looks the part), investigating a killing in a bar. He questions one guy (Christian Bale), who has blood on his hands and whom he jails based on an accusation by one of the bar girls witnessing the fight. There are so many action scenes here that there is not enough space to list them. A man gets thrown out of a window, a young black man gets beaten with a pipe (First part of movie as described above). Richard Roundtree has a guest appearance as a detective trying to induce Shaft to come into business with him, which happens at the end. The whole plot centers on Bale, and Shaft trying to get him convicted, despite the political connections of the young man, as he slips in and out of the legal system. At the end, it is the young black man's mother who shoots him down, as the police are escorting him to jail. The plot, the photography, the acting by everyone is great. I have seen it four times now.

Mr. Singer

Average customer rating:

fantastic movie about the pathetic chinese mining lives
A modern Chinese Chaucerian Tale
Part murderous crime story, part social commentary. A well-done, suspenseful movie.
The Blind Shaft.
Evokes a stark picture of modern China

Blind Shaft
Starring: Qiang Li , Baoqiang Wang , Shuangbao Wang , Jing Ai , and Zhenjiang Bao
Director: Yang Li
Manufacturer: Kino
ProductGroup: DVD
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Platform
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ASIN: B0002KPIJG
Release Date: 2004-08-17

Customer Reviews:

fantastic movie about the pathetic chinese mining lives.......2007-04-27

what a tough chinese lifestyle in mining industry. a very good screenplay with very good plot. the tricks, the killings, the good vs the bad, the innocent against the evil. worth watching and to be remembered.

A modern Chinese Chaucerian Tale.......2006-10-02

Judging from the opening credits of Blind Shaft, Li Yang obviously isn't troubled by an excess of modesty: 'Li Yang Presents/a Li Yang Production/Presented by Li Yang/a Li Yang film' - and that's not counting his credits on the end titles. I don't think I've seen anyone credit themselves so many times since Eddie Murphy's infamous Harlem Nights ('Eddie Murphy Productions presents An Eddie Murphy production of an Eddie Murphy film - Eddie Murphy in Harlem Nights Written by Eddie Murphy, Produced by Eddie Murphy, Directed by Eddie Murphy' - and that's by no means a comprehensive list). Luckily Li Yang isn't short of the talent to back up that kind of effrontery: this is easily one of the best films I've seen this century.

An almost Chaucerian tale set in the kind of China you don't see in the tourist brochures or even the average Chinese movie, the premise is simple: Li Yixiang and Wang Shuangbao go round the primitive coal mines in the provinces selecting a new itinerant worker to murder in a fake accident so that they can blackmail the mine owner into paying them compensation to hush it up and not file a report with the Party or the police. After all, "China has a shortage of everything but people." What's most surprising is the characterisation of the two sociopathic conmen, all-too recognisably human, primarily concerned with the future and education of their own children in an increasingly market-led economy. In many ways they're no worse than the corrupt mine owners who would happily kill them to hush up a scandal if paying off the police weren't three times as expensive: both are utterly indifferent to those who die to make them a little bit richer. Until, of course, one of them starts to take a genuinely paternal interest in their latest intended victim, a slow but guileless young boy trying to earn enough money to go back to school (Wang Baoqiang).

In a country as repressive as China, it's surprising just how critical Li Yang is of the corruption endemic throughout the country in the new capitalist society. Hookers sing subversive lyrics to old party songs on karaoke machines, arrests for corruption are everyday TV news fodder and the poor are left to fend for themselves. There's also not a single blade of grass to be seen in the entire film. This is a pitiless, harsh landscape, whether it be the slag heaps of the mines or the cities where crowds of workers hang around in search of a day's work. Nothing can grow here, least of all a conscience. But this isn't art-house fare or a self-important exercise in miserablism a la Ken Loach. It works as a drama as well, albeit one more focused on character than suspense (the ending is not exactly unexpected), and isn't without its comic moments. Very impressive indeed.

Part murderous crime story, part social commentary. A well-done, suspenseful movie........2006-06-27

Blind Shaft is just about as bleak, dry and cold as the North Chinese coal mines in winter where the story is set. The film is part crime drama, part social commentary. As the murderous intent of the two main characters becomes more complicated, the film builds a solid amount of suspense.

Tang (Li Yixiang) and Song (Wang Shuangbao), two hard, working-class men, have developed a scam that pays well. They befriend a stranger, convince him to play along with the story that he is a relative so that he'll find it easier to get work with them, then they go to a coal mine and get jobs digging deep underground. After a few days or weeks, they murder the man down in the shaft, fake an accident and work a deal with the mine operators. In exchange for not making a fuss about the death of a "relative," they accept a payment and go on their way. The mine managers know that if the police are called in, they'll just cost more in bribes than the payment to Tang and Song. And as one manager says, "China has a shortage of everything except people." Tang and Song have pulled this scam several times. Tang, the elder, is a hard case, calculating and without many feelings, with no sympathy for anyone. "You feel bad for him?" he asks Song about the last man they murdered, a peasant with a wife and a son he was trying to send to school with the wages he was earning. ""But who feels bad for you?"

Song is just as willing to murder, but he has a son, too. Some of the hush money they earn he sends to pay for his son's schooling. After the latest killing, the two spend time in a city using up their money on prostitutes. Then they spot a 16-year-old kid, fresh from a village, new to the city and trying to find work. Yuan (Wang Baoqiang) is naive, honest and trusting...a perfect candidate. It's easy to convince him to join them and for him to pose as Song's nephew. They head north and find work in a mine.

For the last hour of the film as the three dig with picks and shovels in the pitch-black mine shafts, with the only light coming from the small torches on their helmets, Tang moves steadily to kill the boy. Song finds reasons to hold back. He needs to lose his virginity, Song argues; it wouldn't be right to kill him before he has known a woman. "Okay," says Tang, "we'll get him laid today. Tomorrow we'll kill him." We need to give him a dinner celebration with wine before we kill him, Song argues, then we can kill him. All these delays take time. Song has evidently found something about the boy's honesty that is bothering him. Tang simply sees delay. He frowns but then smiles. He agrees to the delays. He is getting impatient with Song.

The end of the movie is quick, brutal, ironic and not entirely unexpected. Considering the chances for a happy future for ill-educated working men in China, whether they're grown-ups or 16-year-olds, there's probably no other ending possible. The movie is as much a bleak look at the prospects of working-class men and women, especially in the coal mines, as it is a crime story. Li Yang, who has a background making documentaries, used hand-held cameras to get into the mining operations and to follow the actors around. We also get a realistic look at life in a Chinese city. I thought the movie was fascinating, with the end depressing and unsettling.

The DVD looks fine. The extras include a biography and filmography of the director and a stills gallery.

The Blind Shaft........2006-02-24

Welcome to modern day China, a land turned ruthlessly capitalistic, providing fertile breeding ground for con-men who go the extra mile, ruthlessly. The paraphrased words here of one of the main protagonists sums up the mercantile jadedness quite succinctly: Nothing is real anymore, except a mother's love.
In this intriguing film of low-key suspense put out by Li Yang, the plot centers on two cold-blooded con men who operate in the northen part of Asia's most powerful yet troubled country. These wolves in sheeps' clothing run scams against unsafe mining companies, the likes of which haven't tormented the American worker in decades. Integral to their ongoing machinations are strays they pick up in the big city; young men from impoverished villages who come looking for scarce work and even scarcer honor, to support the loved ones back home and maintain a sense of traditional dignity. Ripe plums for the plucking.
Li Yang's portrayal of today's somewhat Red China is both disturbing yet interesting, but not in a train-wreck fascinating sort of way. The folk on vivid display are but fifty-odd years yanked from an ancient way of life, thrust for a second time into a newly emerging system, the latter almost as chaotic in its long birthing as the earlier attempt at collectivism, and presently just as unsure. The realistic scenes that unfold of casehardened citizens working, plying or roaming the harsh and dirty streets of the city impart an overarching sentiment of bleak prospect. Accentuated from beginning to end are inadequately addressed challenges of today and future China: with so many people to provide safe work, plentiful food and adequate housing for, it seems to be herculean tasks the pseudo-communist, hyper-capitalist government is just not up to. Exasperating the difficulties is the disregard of basic civil rights we Westerners take for granted, because in contemporary China, where now almost everything's for sale, the film has the viewer believe it is very unlikely the authorities ever make a comprehensive effort at keeping accurate records of one's true and legal authenticity. That dysfunctional social and legal problem of essential identity plays into one of this production's most starkest and frightening statements: a single solitary not easily identifiable Chinese citizen can not only be easily victimized, but die without hardly causing a stir. Untraceable identity is also a theme crucial on more than one level as the story-line plays out.
Also explored is the damage done to the character of the Chinese everyman. With not enough developed resources, so many must barely get by, all the while chafing under a capricious, strictly market-minded government-one not by the people, nor for the people and certainly not of the people, but overly concerned with national results at the expense of individual dignity. Such a way of life cannot help but be prone to produce much human sadness, which can make it distressingly easy for too many souls to be corrupted, which unfortunately not only enables but encourages the basest of men to inflict upon others terrible evil.
If you like suspenseful plots and interesting individual and national character studies in exotically perilous environments, then I highly recommend Blind Shaft. It's an engaging way to spend 90 minutes getting an incisively sneak peek into the underbelly of the most populous country on the planet. And if one is inclined to doubt the veracity of this film, that they might consider this video display as little more than some guy trying to trade on unfair characterizations of Mother China, they should also take this into consideration prior to renting or buying this DVD: The film is banned in China.

http://www.frankrheins.com

Evokes a stark picture of modern China.......2006-02-18

What happened at the start of this movie down in the mine shaft confused me so much I had to go back to the scene and view it again. That really didn't help because it seemed that three men--one very young; another older, perhaps in his early thirties; and the third perhaps in his forties--go down into the coal mine and after working for a while take a break in the semidarkness. And then after some talk the two older men bludgeon the youngest to death.

That in fact is what happened. Turns out that drifting miners Tang, the older, and Song have dreamed up a murderous scheme in which they recruit young men to go with them to work in the mines. They make the young man pretend that he is related to them. Then they kill him, fake a cave-in and demand hush money from the boss of the mine. We see this work one time, and then the two men are off to the town to spend their ill-gotten lucre. And then it's back to recruitment and a new mine.

Part of the logic of this premise is the fear of the mine operators that if there is an accident, there will be an investigation and the mine will be closed down. So they pay hush money to the families of those killed to keep the authorities away. How realistic this is I have no idea. The scam certainly is a brutal, bestial way to make a living that cannot go on for long.

In the next part of the movie Tang and Song find a poor 16-year-old country boy in the city who is looking for work. Director Li Yang carefully shows us a lot of interaction among the three as the next setup develops at a new coal mine. What makes all this so interesting are the glimpses we get of life in modern China, the wretched, dangerous coal mines, the cities teeming with all their poverty and industry, their hustles and indifference. The landscapes are not lush with greenery; instead it is cold and bleak and the ground is mostly barren. This is not a travel log for tourists, nor is this an ode to the communist state. What we see is a rural and agrarian society perverted by a forced industrialization.

We see the housing for the miners. We see them at meal times and at play. We see what they eat and drink, how they amuse themselves. We see the great dependence that China has on coal. There is a lot of coal in China and it is used for heating and cooking and for firing kilns and crematoriums. It runs the industrial state. Coal burns dirty and pollutes. Although Li Yang does not dwell on it or show us the poisonous clouds that hang over many Chinese cities, we nonetheless get the picture.

Perhaps the most evocative shot of all is the last one. A body with a blanket over it is shoved into the crematorium oven. The door is slammed shut; the fires incinerate. The camera pans up, up to the top of the smokestack and we see puffy tendrils of smoke emitting. That's it. Run the credits.

The simplicity of the story starkly told and the low-budget realism of the cinematography lend to this film a sense of truth and immediacy not found in more carefully contrived productions.

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