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Super Fly 1972
Description: Super Fly is a cocaine dealer who starts to realize that his life will later end with either prison or his death. He decides to build an escape from the life by making his largest deal yet.
Released: 04 Aug 1972 Director: Gordon Parks Jr. Writers: Phillip Fenty (screenplay by) Actors: Ron O'Neal, Carl Lee, Sheila Frazier, Julius Harris Genres: Action, Crime, Drama
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See Super Fly (1972) Official Trai on youtube.

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See SuperFly (Soundtrack) on youtube.

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See Youngblood Priest and Scatter on youtube.

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See Youngblood Priest Lays Down th on youtube.

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See Youngblood Priest (I Ain't on youtube.

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See The American Dream - Super Fly on youtube.

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See Youngblood Priest Wants His $ on youtube.

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See Trouble Man 1972 on youtube.

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Super Fly Reviews:

Allow me place in my two cents about this film.If you weren't around when this movie was released...you're going to miss much when writing a review. Allow me test to help:This movie IS about an urban drug dealer that "sticks it to the man". This was NOT a known idea of that time which is why it attracted so many film 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 skinned blacks. But here was something... different! "The Man", was really "The Law Establishment". And was "Superfly"...urban? Fresh Ideas 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 melody to "Superfly". This made the movie even more popular.This was a weak budget movie released at the very beginning of the black movie 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 required a project to enter in this arena and greenlighted "Superfly".This movie began a M-A-J-O-R fashion trend that was difficult 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 great existence, he was a drug dealer that you DIDN'T know was one -- not by outward appearances anyway...that didn't receive his come-uppence at the end of the film, he GAVE it.It is nice 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 melody and of breaking a film taboo that all drug dealers are lowlifes and gotta be killed in the end.About that fashion: This began the trend of white surban-ites dressing like pimps trying to be cool. Tiny white children 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 movies that you gotta experience beyond judging it on how nice or terrible it is to watch...Rent this movie to see how a movie can INFLUENCE a culture.


'Superfly' is the greatest film of the short-lived 1970s blaxploitation boom which gave the globe the better known, but less substantial 'Shaft'. The 'Shaft' series are incredibly entertaining movies, no argument there, but most of the movies from this period starring Richard Roundtree, Fred Williamson, Jim Kelly,et al are essentially action films which detail "a black Dirty Harry", "a black Bruce Lee", "a black Philip Marlowe" or even "a black James Bond". In another words they are category action thrillers with black protagonists. 'Superfly' is very various from most of those films because Ron O'Neal plays Priest, who isn't a personal eye or a "righteous dude" but a DRUG DEALER. And while Priest is tired of "the life" and wants to retire the film doesn't detail any knee-jerk anti-drug stance or moralizing. This meant that many in the black community at the time detested it and what they perceived as being the glamorization of drugs and drug dealing. All these years later, in an era that is in many methods even more conservative (or at least more hypocritical!), this is what gives the film a genuine edge, especially when what is on the screen is given a musical debate by Curtis Mayfield's magnificent score, one of the best of all time. O'Neal is charismatic and super cool and displays some genuine acting talent. Which makes it such a shame that his career quickly went down the toilet with tiny more than tiny helping roles in 80s garbage like 'Red Dawn' and 'Hero and the Terror'. O'Neal is supported by an perfect cast of mainly obscure actors such as the late Carl Lee and Charles MacGregor ('Blazing Saddles') as Fat Freddy. The greatest known face is veteran Julius Harris ('Live And Allow Die') who has a pivotal role as Priest's former mentor Scatter. Director Gordon Parks Jr. went on to create 'Three The Difficult Way' starring Fred Williamson and Jims Brown and Kelly, but never fulfilled the his potential before being slash down in a plane ruin in the late 70s. What a pity. At least he left us with 'Superfly', which is not just a nice blaxploitation movie, but a nice film period. Highly suggested to all fanatics of gritty 70s crime movies.


Ron Earl is the Priest, independent Harlem coke dealer who is out for the large 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 hero we're named to empathize with and if that pose a trouble for some, it's a directorial choice I applaud even only for its disregard of PC norm. In a category populated for the most part by cops, personal dicks and another 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 methods and becoming goodie two-shoes in a last minute, flimsy attempt to redeem the film in the eyes of moral censors, without being heavy-handed or trashy is certainly admirable. Those that play taking the moral high ground vs the film they're watching will search plenty of ground here to do so. I don't. I might oppose a film on a political lvl but only when it tries to create a political statement out of it and Superfly sure as hell doesn't, at least not beyond what category conventions might dictate (i.e. whitey is bad). The Priest however renounces the hypocrisy of "Black Nation" scumballs going around asking him for cash just as much as he rails vs 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, powerful and clear. Receive 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 mission early in the film about how "it's all whitey left them to do" on which I call shenanigans; that method of thinking is never further expounded upon in relation to the Priest's target and Eddie in the end proves himself to be a backstabbing, greedy son of a bitch. I think the greatest method to sketch out The Priest's hero is by using Lee Marvin's words when he was asked what it felt like to have played so many terrible guys in his life: "My characters weren't bad. They were just trying to receive through the day". That's cute much the wavelength Super Fly channels its protagonist through. Neither condemnation, nor approval, it's just the method it is.Super Fly is so damn nice 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 film 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 large part of that distinct seventies charm is due to Curtis Mayfield's stupendous score, testing 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, nice pace, all-around nice acting, booty-shaking' music, afros and a several punches thrown in for nice measure, Super Fly is among the greatest of its kind. Strongly recommended.



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