Fred Williamson

This has been such a busy week, working in retail during the Christmas season, it has been hard to come up with a topic for That New Film Smell. I have lots of ideas, but the direction I want to take this series in and how to kick it off has been difficult to figure out. The intent of TNFS is to discuss films outside the Hollywood norm. But not necessarily be a film review series.

My journey outside of Hollywood started with bargain bin movies. Those movies that you find for a buck in slim DVD cases, that look like, and often are, transferred from VHS tapes. They are often the first or early films of some big Hollywood actor. But I wanted to find a new actor. One who Hollywood has neglected and not every card carrying Blockbuster Rental film fan would know of.

I quickly became a big fan of "The Hammer", Fred Williamson. Master of "Gun Fu". He is the perfect topic for TNFS and could actually be the topic of many posts. I am going to need to moderate myself, since I could go on and on about Fred Williamson movies and his out of Hollywood career.

Italian films. Post Apocalyptic films. Westerns. Cop movies. Vampire movies. Blaxploitation movies. Martial Arts movies. War movies. Williamson has done it all. He's directed, acted, produced, and written movies. Most of which would be considered independent films. Not pretentious IFC films. But films with little financing and a lot of corners cut. Films often with nothing to say, except to kick ass and who cares about taking names.

As I got more and more into Fred Williamson films, I began to find more suitable releases of his movies. MGM recently started to release a collection of movies under the banner of Soul Cinema. Films staring actors like Pam Grier, Jim Brown, and Isaac Hayes. Fred Williamson's films dominate this collection. One of my favorites is part of this collection as well. Hell Up In Harlem. Directed by Larry Cohen.

The Soul Cinema releases are great for a few reasons. Low budget DVD companies like Alpha, Brentwood, and Diamond Entertainment claim "digital transfer" or "enhanced" quality. However, the only thing "digital" is that it has been recorded onto DVD. The source is often a worn out VHS copy. When you watch a Soul Cinema DVD you feel that respect and care has been given to these movies. They even offer director commentary on most. I found the commentary for Hell Up In Harlem to be of particular interest. If you are a student of film and want to learn how to cut corners, this should be a part of your study.

During the first few minutes there is a car chase that takes place on busy city streets. The chase continues onto the crowded side walks. With pedestrians dodging and running for their lives. If there was an Oscar category for extras to get Best Actor, these pedestrians would've gotten it. Except they weren't acting. Those were real people in real terror. This brings us to the term known as "stolen shots". A technique of shooting without getting a permit.

Another great example of a "stolen shot" is later in Hell Up In Harlem when Black Caesar, played by Fred Williamson, takes to the streets. With the camera set up in the distance, the director shoots Williamson being mobbed by regular people who recognize Fred Williamson. Actor and Ex NFL star. They are unaware that Williamson is pimped up because he is shooting a movie they are now in. Him being mobbed is a part of the script, since Black Caesar is supposed to be the ghetto Robin Hood. It's only natural that the very citizens who are safe because of him would mob him in adulation. Another successful stolen shot adding to the credibility of what is going on in the movie.

Another example of Cohen's ability of cutting cost is recycling his crew and equipment. When he had committed to do Hell Up In Harlem he was shooting It's Alive for Warner Brothers 5 days a week. So on Saturday and Sunday he used that same equipment and crew to shoot Hell Up In Harlem for Universal.

It would appear that nothing could stop Cohen. Can't get your leading man for the majority of your shoot? Time for a double. During shooting, Williamson was also shooting That Man Bolt 5 days a week in California. Hell Up In Harlem was shot in New York. So Cohen used a double and then mixed that footage with close ups he later shot of Williamson in California. He even used Williamson's wardrobe from That Man Bolt in Hell Up In Harlem.

Cohen never used alot of production people and never used storyboards for Hell Up In Harlem. He admits during the commentary that he failed in making a movie that made any sense. I disagree and thought he did a great job under the circumstances. When you consider the crap Hollywood produces for 200 million a picture, Cohen was pure genius.

Here is a bit of trivia. James Brown originally scored the music for Hell Up In Harlem. But because Universal wasn't satisfied with his music on Slaughters Big Rip Off, they didn't use it. So Brown took that same music and turned it into an album called The Pay Back. Brown's most successful album.

I have to cut myself short on discussing Hell Up In Harlem since this TNFS is supposed to be about the Fred Williamson film legacy. But by discussing Hell Up In Harlem in length, you understand Williamson's own style of film making.

I have to admit, ONE of my favorite Williamson movies has to be Mean Johnny Barrows. Directed by Williamson himself. Almost like a page out of David Morrell's 1972 book First Blood, Johnny Barrows is a decorated Vietnam War vet who is discharged for punching a superior officer. He goes looking for a job, but no one will hire him, except some new Mob friends who are aware of his military service and ability to kill.

After trying to play it straight, he becomes a hit man for the Mob guys who eventually put out a hit on him. In a white suit and coat. Armed with a shotgun in each hand, Mean Johnny Barrows unleashes justice. Of course there is a woman involved. Barrows goes to save her from the rival Mob family that kidnapped her. It's not until later that he realizes she is in cahoots with her captor, played by Roddy McDowall.

How do you repay the girl that betrayed you? Trick her into stepping onto a landmine of course. Sadly, she doesn't blow up before killing pure Johnny Barrows first. A war hero looking for some honest work and peace of mind.

Mean Johnny Barrows is significant because the hero and star dies at the end. You rarely see that in film. Especially when that same star is directing the movie as well. In most cases, stars wouldn't have that.

If you like vintage Clint Eastwood, then you need to track down some Fred Williamson flicks. I recommend starting with the Soul Cinema releases. Also track down Vigilante, which offers some great commentary with Williamson, Robert Forester, and others. Be sure to also look for the Italian films The New Barbarians and 1990 Bronx Warriors as well. Buy the Shriek Show releases ONLY. Barbarians and Warriors have had multiple public domain releases, but the Shriek Show releases are from master prints and in wide screen. The Shriek Show releases also offer 2 Fred Williamson interviews as a bonus feature. Each are important because they offer insight into Williamson's thoughts on Black Cinema, Hollywood, the rise and fall of Italian cinema, and how to market a film.

Sadly, as is the case with Mean Johnny Barrows, most Fred Williamson movies are in public domain and it's hard to find quality versions. I hope some one with money will realize the significance of these films and start making quality prints available to the public. But for me, poor quality releases are better than no Fred Williamson movies at all.

Sure. Fred Williamson may not be the GREATEST actor and maybe should never do a Shakespearean role. But Will Smith can never play Black Caesar. And there is nothing wrong with that.