It’s Time to Move Beyond ‘Shaft’ and ‘Mack’

In “ReDiggin’ the Scene” (Calendar, June 30), Elaine Dutka presents the current plans to produce films based upon black, urban action films of the early ‘70s--namely, “The Mack” and “Shaft.”

As an African American who writes screenplays and teaches film studies, I agree that these two films are important works that offer a look into some of the social, cultural and political issues of the period. I would also agree that the current popularity of these and other films of the era is connected to their relevance to existing urban challenges and to cultural expressions influenced by the hip-hop movement. I would add that another aspect of those films is the opportunity to enjoy the performances of talents such as Pam Grier, Ron O’Neal, Dick Antony Williams and Moses Gunn.

However, despite the noble intentions of filmmakers Doug McHenry, George Jackson and John Singleton, any remake of these earlier black classics strikes me as being wasteful and negligent. First of all, the ‘70s films, in all of their grittiness, awkward cutting and overbearing music scores, were unique in form, resulting from their unpolished quality and raw energy. A slick $20-million production would exclude some of the very elements that made those earlier works distinctive.

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Second, although “The Mack” and “Shaft” contain subplots or supporting characters that allude to black political issues, the protagonist of both films is a misogynistic male who is motivated by machismo and materialism. Do black teens need another “Mack” icon who is indifferent about exploiting black women to become a successful businessman? Do black viewers need a “new James Bond, establishing a new level of what’s cool” if his attitudes are rooted within traditional messages that validate male dominance and power?

Black heroes are definitely welcome, but the dimensions of those heroes should be fine-tuned in intellectual, spiritual and leadership qualities that are balanced between the real and the ideal.

Finally, the two films mentioned and others like them possess a disturbing aspect of ambiguity. Both Goldie (“The Mack”) and John Shaft easily identify the injustices that “the man,” or white society, forced upon them, but each character fails to perceive his own personal choices and responsibility for changing his lifestyle (“The Mack”) or his community (“Shaft). For all of their black diction, hairstyles, clothing and music, these black characters continue to define themselves by standards dictated by a white society they claim to hate.

Certainly, African Americans, like all other ethnic and cultural groups, enjoy viewing themselves through a variety of captivating screen images. However, “The Mack,” “Shaft” and other ‘70s black films should be appreciated for their historical and cinematic importance--then they should be used as stepping stones into more progressive black characters and films that will proudly inspire both black and nonblack audiences.