Super Fly(in Hollywood Movies) Super Fly (1972) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Super Fly on your mobile, tablets and ipads
Plot: Super Fly is a cocaine dealer who begins to realize that his life will soon end with either prison or his death. He decides to build an escape from the life by making his biggest deal yet, converting the coke to cash and running off to start a new life. The problem is that the Mob does not have a… Runtime: 93 min Release Date: 04 Aug 1972
A film that influenced a generation. (by lambiepie-2)
Let me put in my two cents about this film.If you weren't around when this film was released...you're going to miss much when writing a review. Let me try to help:This film IS about an urban drug dealer that "sticks it to the man". This was NOT a known concept of that time which is why it attracted so many movie goers. What was ALSO interesting was the casting of the light skinned, straight haired actor Ron O'Neal as "Superfly" to "stick it to the man". "The Man", usually white in these films, formatically had to brace the rath of very dark <more>
skinned blacks. But here was something... different! "The Man", was really "The Law Establishment". And was "Superfly"...urban? New Concepts of the time.Another thing: Curtis Mayfield HATED the theme of this movie. He was going to turn down writing the soundtrack when he thought it may be better to counteract this theme by writing POSITIVE messages for the audience to hear. Before "Saturday Night Fever", Curtis Mayfield wrote the ground breaking music to "Superfly". This made the film even more popular.This was a low budget film released at the very beginning of the black film experience, and was meant to be the opposite of "Shaft" not a parellel to it. But based on the success of Shaft, Warner Bro's needed a project to enter in this arena and greenlighted "Superfly".This film began a M-A-J-O-R fashion trend that was hard to overcome only the Disco era of the late 70's knocked this one out. And that is "Superfly" in a nutshell."Priest", played by Ron O'Neal was 'supercool', he was slick, he had a nice existence, he was a drug dealer that you DIDN'T know was one -- not by outward appearances anyway...that didn't get his come-uppence at the end of the film, he GAVE it.It is amazing what an impact "Superfly" had on the culture of that time. In looking at it now, it may look cheap, but it IS a timecapsule of fashion, of music and of breaking a movie taboo that all drug dealers are lowlifes and must be killed in the end.About that fashion: This began the trend of white surban-ites dressing like pimps trying to be cool. Little white kids were wearing "maxi" coats with "Superfly" hats to Jr. High School and High School!!! Dancers were wearing platform shoes, etc., on American Bandstand!!! You think Hip-Hop did it? Where have you BEEN!!!"Superfly" is one of the rare films that you must experience beyond judging it on how good or bad it is to watch...Rent this film to see how a film can INFLUENCE a culture.
Ron O'Neal played the role of Youngblood Priest in 1972 movie SuperFly CONVINCINGLY well. Some people believed he was actually a drug dealer or hustler in real life, that's how good his performance is. O'Neal understood the character of Priest well enough to know what messages he believed Priest was trying to convey to Black America as well as to mainstream America about life in the ghetto urban city , about how one's choices and options can be shaped by the socio-economic environment and then reshaped and changed by personal choices, and about the moral dilemmas one may <more>
experience during this process. SuperFly is a form of art that imitates life. Its hard core portrayal of life in the ghetto urban city as experienced by victims and predators and just everyday folk shows how everyone is trying to survive in the game; it showcases how people find themselves responding and reacting to their circumstances and socio-economic environment, and when they believe they are not in control of their destiny, or when they believe they don't have options and choices in their lives. Some call the overall feelings in these communities as those of despair, hopelessness, or helplessness. Others say these communities are filled with bravado or defensive posturing.In the context of survival in the ghetto, the character of Priest is viewed as a hero because something makes him realize he does have choices in his life. He comes to realize that he has a choice whether to continue dealing drugs or to get out of the business. He has a plan to get out, although he is not sure if it will actually work, but he is willing to die trying to become free. Priest is a hero when he realizes that he has to find the right kind of support and help for thinking about and acting on his choice of freedom, especially when his support system for sustained change is limited, as evidenced by those who don't believe he can get out alive and are willing to betray him for trying to leave the business. Priest recognizes that he is in a moral dilemma as he professes to be "tired of the life" and "never really liked it" but he needs to score one last time so that he can leave with something rather than with nothing. Indeed, Priest should be commended for wanting something else out of life even if he does not know what that "something else" is, especially in a social environment where there may not be much support for doing what Priest ultimately makes the decision to do. When making the choice to change, everyone has to start somewhere, and this is part of the message conveyed by O'Neal's commanding performance.Let the viewer not forget the many issues that helped to influence the decisions that Priest had to wrestle with --- the socio-economic environment of the ghetto and its relationship to a corrupt police department, among its relationships with the many institutions of the white power structure. Unfortunately, if the viewer focuses strictly on the cinematography, directing, and low budget issues of this movie, the viewer might miss the important individual and social messages that the movie is trying to convey.Most importantly, Ron O'Neal's performance demonstrates his understanding of the character and why he took the risk and took on the role as Youngblood Priest at that time in his career, a career which began when he was cast as the lead role in Charles Gordone's Pulitzer Prize-winning play "No Place to Be Somebody", a play which began on off-Broadway's Public Theater but later went to Broadway in 1969 . Ron O'Neal won an Obie Award, a Clarence Derwent Award, a Drama Desk Award, and a Theatre World Award for his work prior to SuperFly. During an interview about three years ago, I heard Ron O'Neal say that he did not apologize for taking the role or making the movie that may have eventually compromised his career. Said he to the interviewer, "If I had not taken the role, would we be talking right now?"
If you are the kind of viewer that thinks blaxploitation movies are simply camp and you like to laugh at the clothes and whatnot, that's fine... I mean, they are movies after all, not secrets to curing cancer. However, if you are, it is a shame what you'll miss because this film as with The Mack is a superior character study and ultimately watchable. As is noted on the DVD commentary, while the clothes and vernacular seem outdated now, at the time they were 'state of the art' as it were. Another thing to remember when watching these films is the insanely low budgets <more>
necessitated short cuts like single takes and other such things that make a film 'feel' b-rate; however this film is first rate. O'Neal is excellent, as are Julius Harris and Sheila Frazier and the soundtrack is perhaps the best ever. ***** out of *****
Interesting and realistic perspective (by thomaswatchesfilms)
This gritty, low budget film offers a unique and honest perspective on the underworld of black street life in the early 1970s, with an almost tragic, Shakepearian, bent. The look, the feel and language of the culture and the almost real-time look street life in NYC of that era is truly unmatched by any film before or since. Perhaps through genius, inspiration, maybe just plain luck, or all three, the producers and director hit the nail right on the head. Starring an excellent, intelligent cast of professional thespians, some with impressive stage and film credentials, and augmented by a <more>
wonderful infusion of genuine non-professionals right from the street in key roles, the film has an honesty and gritty reality that belies its budgetary constraints. Filmed largely without the permission of local authorities and unions, in winter and often after dark, it has a cinema verite feel throughout; almost a documentary. And the score! Composed and performed by Curtis Mayfield, it is as close to an utter classic as has ever been offered. It stands alone, and would have been a multi-platinum offering even without the film. If one takes the inherent flaws to this type of production; i.e. the rough editing, slightly uneven performances and almost clandestine feel, and places these in proper perspective, it is sure to delight all but the most hardened and jaded enthusiasts of film. Notable: this film set THE STYLE for black, urban culture for most of the next decade. It has no current rivals in that accomplishment. After this film, simply everything since has been empty posturing vis-a-vis popular rap music. It was "remade" during the mid 1990s and set in Miami as "Big Ballers", which was utterly horrible. Compare the two and you will see what style counts for. This film is the real deal. I spent money I didn't have to get this DVD. Go buy it, trust me.
Seventies classic that only happens to be blaxploitation (by chaos-rampant)
Ron Earl is the Priest, independent Harlem coke dealer who is out for the big deal, one last push before he's out of there and out of the street. He also happens to be the protagonist and the one character we're called to empathize with and if that pose a problem for some, it's a directorial choice I applaud even only for its disregard of PC norm. In a genre populated for the most part by cops, private dicks and other manifestations of the law, having a drug dealer kicking ass and not in the name of some higher value, without him renouncing his past or seeing the error of his ways <more>
and becoming goodie two-shoes in a last minute, flimsy attempt to redeem the movie in the eyes of moral censors, without being heavy-handed or trashy is certainly admirable. Those that enjoy taking the moral high ground against the movie they're watching will find plenty of ground here to do so. I don't. I might oppose a movie on a political level but only when it tries to make a political statement out of it and Superfly sure as hell doesn't, at least not beyond what genre conventions might dictate i.e. whitey is bad . The Priest however renounces the hypocrisy of "Black Nation" scumballs going around asking him for money just as much as he rails against the "redneck faggot" captain who doubletimes as the local drug lord.So if Super Fly is so good, it's because The Priest's desire comes across so transparent, strong and clear. Get off the street. A home, a vine, his woman, that's all he wants out of life now, despite or perhaps because of him being a societal leech feeding off people's addiction. Dealing drugs is just a job for him, a means to an end. His partner Eddie rambles on at one point early in the movie about how "it's all whitey left them to do" on which I call shenanigans; that way of thinking is never further expounded upon in relation to the Priest's goal and Eddie in the end proves himself to be a backstabbing, greedy son of a bitch. I think the best way to sketch out The Priest's character is by using Lee Marvin's words when he was asked what it felt like to have played so many bad guys in his life: "My characters weren't bad. They were just trying to get through the day". That's pretty much the wavelength Super Fly channels its protagonist through. Neither condemnation, nor approval, it's just the way it is.Super Fly is so damn good however, not just because its drug dealer protagonist comes across as genuine and sympathetic, but more so because it never allows itself to be drawn to the sillier end of blaxploitation. No 'mack daddy' sleazy pimpin' fabulousness here, the movie is constantly rooted in reality, taking itself serious before asking the viewer to do the same, but also groovy and funky as only blaxploitation flicks can be. A big part of that distinct seventies charm is due to Curtis Mayfield's stupendous score, playing over most of the film, but also the seedy back-alleys and rundown neighborhoods of then contemporary Harlem, the grime almost reaching across the screen.Grade A blaxpoitation then, but also a smokin' hot crime flick with characterization that is better than most, good pace, all-around good acting, booty-shaking' music, afros and a few punches thrown in for good measure, Super Fly is among the best of its kind. Strongly recommended.
Rather than sugar coating subject matter and attempting to be politically correct, exploitation films blatantly depicted drug use and violence forcing movie goers into situations they may or may not be comfortable with viewing. Blaxploitation does this just as any other films encompassed in the genre and, unfortunately, has gotten excess criticism from both film critics, advocacy groups and even Civil Rights leaders. Films like Dolemite, Blacula and especially Superfly have been said to further stereotypes, promote violence and generally cast Black culture in a negative light. However, what <more>
many fail to see is that movies like Superfly are truly liberating to the culture the film is targeted for and further more, a commentary on social lives of Blacks at the time. Much like H. Rap Brown's, Die [email protected]@^# Die, Superfly is a commentary of two kinds of African American thought during the late 60s and into the late 70s.Of the many positions taken in the book, H. Rap Brown argues that there were different kinds of African American mentalities during the Black Power movement. There were those who were ready and willing to fight for change and move away from a society dominated by white ideals and racism. Although, there were also those who were complacent with their lives and unwilling to take any stance against the race who continued to force them into second class lifestyles. These mentalities are clearly stated in Superfly and it is an issue that the protagonist, Priest, struggles with throughout the film. Priest is a streetwise cocaine dealer in the midst of making a life changing decision. Rather than continuing his life dealing drugs, fighting rivals and avoiding the corrupt police he decides to make one final deal and leave the life. The Priest character's archetype is very similar to the second of the two groups mentioned in Brown's book. Often times, African Americans tired of the white controlled system turned to drugs and crime. Rather than trying to better society, they often times made it worse, killing and corrupting others. The Priest, fed up with the white dominated society, had acquired a small wealth selling drugs. Although, after some time of dealing he realizes he is putting both his own life and the lives of other in danger.It is at this point that Priest becomes some what of a black power symbol, slowly removing himself from his previous lifestyle, liberating himself from his white girlfriend; who is clearly using him for his connections in the drug world, and attempting to cast negative light on the corrupt, drug dealing police officers in power. Priest's partner, Eddie, is his stark opposite in the film. Where Priest attempts to leave his old life, Eddie wants to delve deeper into the world after Priest and Eddie are forced into doing deals for the police. Eddie sees this as an opportunity for more wealth, where Priest knows it is truly a form of modern slavery; where the police are the masters and individuals like Priest and Eddie are the slaves and Priest is not willing to tolerate this abuse.Curtis Mayfield composed and performed all of the songs featured in the film. The films main song, "Superfly", sums up the issues faced by drug dealers on a day to day basis. The lyrics, "Hard to understand ,what a hell of a man, this cat of the slum, had a mind, wasn't dumb, but a weakness was shown, 'cause his hustle was wrong, his mind was his own, but the man lived alone" illustrate Priest's lifestyle as a hustler with a strong mind. He finally recognizes the wrong doings he has committed and must pull himself up from the streets. Similarly, the song "Pusherman" tackles other inner struggles faced by Priest. Lyrics such as, "been told I can't be nothing' else, just a hustler in spite of myself, I know I can rake it, this life just don't make it" show white America's perceptions of Black Americans who have given up on society. Powerful whites, at the time, felt that there was no retribution for those who committed their lives to crime and drugs. Furthermore, a statement is made that inner city African Americans are never given the chances of whites outside the cities; also a trend in Brown's book. Black youths were often times told that there is nothing for them outside of inner city life. The expectations of those around Priest are to deal drugs, make money and risk their lives. Anyone who tries to leave the life will face scrutiny and they are actually expected to fail.Overall, Superfly black America's response to white America's perceptions about inner city life. Superfly and the Priest are black America's version of John Wayne, Clint Eastwood and Charles Bronson. The film defines ideas proposed by black power figures and does all of this while still incorporating an entertaining and engaging story. The film is also a commentary of the relationships between different groups of African American groups in violent times. It is a story about retribution and exceeding the expectations of both those in power and those around an individual. Using strong black power themes, a once corrupted drug dealer becomes a symbol of black strength and perseverance at a time when racism was at its worst
Ill be darned if this film wasn't the mother of all Blaxploitation films.The story is about this drug dealer called Priest Youngblood. He has a good business built for himself by selling cocaine out on the streets of New York city. He and his buddy Eddie have made a small fortune with their dealing and now Priest is ready to bow down and get out of the drug dealing business, but not before doing one last deal. Buy a bunch of coke cheap and make a bunch of money fast. Will his buddy Eddie be okay with that, will the hustler lifestyle let Priest Youngblood go free? And a better question <more>
would be, does he really want to leave that lifestyle behind? I was expecting a crappy blaxploitation flick for some reason. A bore fest with nothing that would surprise me. Boy was I wrong! This film is exceptionally well written. The dialog rings so true in many scenes that I had no choice but to sing praises for this movie as I was watching it. Phillip Fenty the writer, focused on giving these characters dialog that would sound like real people talking real jive from the streets. I mean when you hear these guys doing a deal, it most certainly sounds like the way it could have really gone down in the streets of New York in the 70s. So be ready for some groovy dialog, thats not only genuine to the era, but also adds a level of reality to the proceedings. Of special notice is a dialog that goes on between Eddie and Priest, in this sequence Eddie tries to convince Priest to stay in the business and make more millions, to live the American dream of having eight track players and TV's in every room. It was just amazing. There's more little speeches like that one spread through out the movie that are really quite excellent.Visually speaking the movie looks gritty. I mean, grind house cinema was invented by movies such as this one. The streets look like real streets and by that I mean, dark, dirty and rat infested. Its not like todays over stylized films that look slick and pretty yet take away the level of reality from films. Not Superfly though, its quite evident that this film was filmed in the real streets of New York back in the 70s when Queens and The Bronx looked like crap. There's no fancy lighting here or anything, this place looks dangerous, for real. And the film did an excellent job of capturing the feel and stink of New York back in those days. Right from the opening credits when we see Priest parading around the city in his pimped up pink Cadillac to visiting some real nightclubs in New York playing some funked out tunes! That sequence in the club where a real live funk/jazz band is playing totally transported me to that era. The movie just absorbs the 70s and basically just keeps it in this little time capsule perfectly preserved for your viewing enjoyment. And how could this director Gordon Sparks Jr. not make a movie as cool as this when his daddy Gordon Sparks Senior. was the one responsible for Shaft? There's no doubt that this movie is sleazy, its grind house AND blaxploitation all rolled up into one! The characters aren't nice and perfect, in fact they are the sleaziest, baddest mothers to walk the streets of New York. Even our main character Priest Youngblood spends most of the film stuffing his nostrils with cocaine every five minutes. And I mean this literally not figuratively. They are all drug dealers and coke heads, pimps and crooks, kinda reminded me a lot of Sin City. Only this isn't some CGI fictional city, this is N.Y. C! And yet, the cool thing about this film is that it is sleazy, and gritty yet it has a certain style in its direction that is very hard to ignore. There's this one scene in particular that really blew me away in which we see Priest and Eddie moving on up in the drug dealing business by a series of photo montages that were really amazing. And after I saw this film I had no doubt in my mind where Blow got some of its ideas from.Ron O Neal absolutely dominates this movie as Priest Youngblood. The badass drug dealing cool dude who everyone looks up to and fears. The guy moving up in the dealing world and you better look out and not mess with him. He is an anti-hero cause I have to admit about half way through the movie I couldn't believe that I was actually rooting for a freaking coke dealer who got high on his own supply! What I mean to say by all this is that this character is highly memorable and will have you rooting for him in no time flat, despite his despicable lifestyle.But above all else, the film had a good story. The bad guy wanting to get out and live with his girl. But can he escape? Will he? Or was this all he was born to do? Rent this movie and find out. This is without a doubt THE best blaxploitation film I have ever seen and highly recommend it to those who enjoy gritty, dark and funky gangster films from the seventies.Rating: 4 out of 5
"Street Scenes and Hustler Schemes" (by Camera-Obscura)
You're in for an ultra-cool ride if you go along with Youngblood Priest, who lives "the Life", the way of hustling and pimping in an urban underworld with all the ladies, the dope, the money, that comes along with it. He's got it all! "The only game the Man has left for us to play", so that's what Priest is gonna do, as all the other characters in blaxploitation-flicks do, stick it to The Man! He is a Harlem cocaine pusher who wants out of this hustling lifestyle and wants to retire from the business, but first he has to make one last million-dollar dope <more>
deal.The music, the fashions, the sideburns, the cars, the gritty New York locations, this is plain streetwise dirty fun, one of the best of all the blaxploitation-films. SUPERFLY capitalized on the insight of both SHAFT 1971 and SWEETBACK 1971 , but came with an even more astonishing soundtrack by Curtis Mayfield. It spawned one of the greatest albums off all time, an immensely influential music score. It has become such a classic, that almost everybody instantly recognizes it, many, many more than have seen the actual movie. For a long time, the same applied to me. I think I owned the album for over ten years before I ever saw the film.It's obviously low-budget but relatively well made, with an exciting if somewhat familiar storyline. The secondary characters are a bit flat but Ron O'Neal, a former stage actor who did a lot of Shakespeare before this, gives a dynamic performance as Priest. From within the black community, the film has often been accused of dubious morals because of it's glorification of drug-pushers and use of heroine. That very well may be, but this was what people in those days wanted to see. Black heroes in real-life situations on city streets. That's what these movies were made for, for a black audience and making some good money in the process. Nothing more, nothing less. SUPERFLY clearly has become more of a cultural icon, far surpassing it's cinematic virtues. Just rancid fun, great music and style to burn.Camera Obscura --- 9/10
Possibly the Best "Blaxploitation" Film Ever Made (by Uriah43)
"Priest" Ron O'Neal is a drug dealer who realizes that the dangers of his profession are bound to catch up to him and decides to retire. But first he wants to make one last "big score" before he does. So he talks to his partner "Eddie" Carl Lee and his mentor "Scatter" Julius Harris and they reluctantly agree to support him. However, after one slip of the tongue things begin to unravel very quickly for all three of them in one fashion or the other. Anyway, rather than reveal the rest of the plot and possibly ruin the film for those who <more>
haven't seen it, I will just say that this is possibly the best "blaxploitation" film ever made. As a matter of fact, in my opinion only "Shaft" can equal its stature within the genre. Be warned though that this film is certainly not for general audiences. Be that as it may it is still very interesting and all things considered I rate this movie as definitely above average.