CLOSE
MGM
MGM

11 Complicated Facts About Shaft

MGM
MGM

On July 2, 1971, moviegoers caught their first glimpse of John Shaft, the “black private dick that’s a sex machine to all the chicks.” Today, Shaft is considered one of the grandfathers of the blaxploitation genre—and it’s got one of the most recognizable soundtracks of all time. In honor of star Richard Roundtree's 75th birthday, here are a few interesting facts about its creation and release. If you picked up on why Shaft and his associates call everyone “mother,” you’re smarter than at least one unfortunate reporter.

1. A WHITE NEWSPAPER REPORTER CREATED SHAFT.

John Shaft made his debut in Shaft, a novel by Ernest Tidyman. Tidyman was a reporter for The Cleveland News, The New York Post, and The New York Times before he began writing the Shaft series, which included seven detective stories. Along with John D.F. Black, he adapted his first Shaft book into the screenplay for the first film. He would later go on to write the screenplays for The French Connection (1971) and High Plains Drifter (1973) as well as Shaft’s Big Score! (1972) and the Shaft TV series (1973-1974). His work earned him an NAACP Image Award.

2. THE STUDIO WANTED TO SHOOT IN LOS ANGELES.

Shaft was filmed entirely in New York City, which is clearly illustrated by the shots of Times Square and Greenwich Village. But it nearly wasn’t. In his autobiography, Voices in the Mirror, director Gordon Parks recalled how he received word from MGM mere hours before he was set to commence filming that he was to return to Los Angeles and shoot the movie there. Apparently it was a budgetary issue, but Parks wasn’t having it. He flew back to the West Coast and essentially told the studio heads he would quit if he couldn’t shoot in Manhattan. “It has to have the smell of New York,” Parks insisted. The director won out, and his nightmare of a Harlem in Hollywood was never realized.

3. SHAFT’S MUSTACHE WAS NON-NEGOTIABLE.

The Los Angeles fiasco was behind him, but Parks immediately faced another scare when he spied his star, Richard Roundtree, heading to the bathroom with a towel and razor. Producer Joel Freeman had asked him to get rid of his soon-to-be legendary mustache. Parks told Roundtree emphatically, “Shave it off and you’re out of a job.” And with that, the ‘stache stayed in the picture.

4. THE DIRECTOR PUT HIS MAGAZINE IN THE MOVIE.

In the movie’s opening sequence, Shaft stops to talk to a blind newsstand vendor. The magazine Essence is prominently displayed—and that’s no accident; Parks helped found the publication and served as its editorial director for its first three years in print.

5. BUMPY JONAS WAS BASED ON A REAL MOBSTER.

Shaft spends most of the movie tracking down a kidnapped girl. She’s the daughter of Harlem crime kingpin Bumpy Jonas, and Bumpy was not a Hollywood invention. He’s based on Ellsworth “Bumpy” Johnson, who ruled the Harlem crime scene from the 1930s through the 1960s. He had ties to the infamous murder of Dutch Schultz and mentored Frank Lucas, the notorious heroin dealer Denzel Washington played in American Gangster. Fictionalized versions of Johnson have also appeared in movies like The Cotton Club and Hoodlum.

6. GORDON PARKS HAD A CAMEO.

Parks appears briefly in the montage of Shaft searching for Ben Buford. He’s the landlord with the pipe, who complains that he’s also looking for Buford, who owes him six months of rent.

7. MUHAMMAD ALI’S TRAINER HAD A BIT ROLE.

Drew Bundini Brown was a well-known member of Muhammad Ali’s entourage. He worked as an assistant trainer, and was famous for the “float like a butterfly, sting like a bee” bit he performed with Ali for the cameras. But when he wasn’t in Ali’s corner, Brown was busy racking up movie credits. His first was Shaft, where he played one of Bumpy Jonas’ men.

8. “SKLOOT INSURANCE” WAS A NOD TO A CREW MEMBER.

Shaft’s office is sandwiched in between Acme Imports Exports Inc. and Skloot Insurance. The latter is a reference to Steven P. Skloot, the movie’s unit production manager.

9. PARKS HAD TO EXPLAIN WHAT “SHAFT” AND “MOTHER” MEANT TO A REPORTER.

When Parks flew to London to do publicity for the film, he ended up giving an impromptu vocabulary lesson. At a press screening, a confused British reporter asked the director what “shaft” really meant. Parks replied by smiling and sticking his middle finger up in the air, explaining that was “the most honest answer” he could give. But the reporter was persistent and followed up by asking why the characters called each other “mother.” Parks really didn’t know how to answer that one, but luckily, a woman in the audience swooped in. “You’ve heard of Smucker’s jam, young man,” she said. “Just snip out the first two letters and add an ‘f’ and you’ll get the message.”

10. ISAAC HAYES WAS THE FIRST BLACK COMPOSER TO WIN AN OSCAR.

Isaac Hayes’ ubiquitous “Theme from Shaft” earned him a 1972 Academy Award for Best Original Song. This win was historic for many reasons. For one, Hayes was the first black composer to score an Oscar. But he was also only the third African American to win an Oscar, period. Prior to 1973, the only other black Academy Award winners were Hattie McDaniel (Best Supporting Actress for Gone with the Wind) and Sidney Poitier (Best Actor for Lilies of the Field).

11. THERE’S A SHAFT COMIC BOOK SERIES.

There hasn’t been a new Shaft movie since the 2000 reboot starring Samuel L. Jackson, but Dynamite Entertainment began printing a Shaft comic book series in 2014. The comics are penned by David F. Walker, who also published the first Shaft novel in over 40 years this February. The latest comic series finds Shaft as a part-time consultant on a blaxploitation movie; Walker intended this meta subplot to be a commentary on “clueless producers who think they have their finger on the pulse of blackness.” And yes, that was an intended slam on the upcoming remake.

nextArticle.image_alt|e
getty images (March and Beery)/ istock (oscar)
arrow
entertainment
6 Times There Were Ties at the Oscars
getty images (March and Beery)/ istock (oscar)
getty images (March and Beery)/ istock (oscar)

Only six ties have ever occurred during the Academy Awards' near-90-year history. The Academy of Motion Picture Arts and Sciences (AMPAS) members vote for nominees in their corresponding categories; here are the six times they have come to a split decision.

1. BEST ACTOR // 1932

Back in 1932, at the fifth annual Oscars ceremony, the voting rules were different than they are today. If a nominee received an achievement that came within three votes of the winner, then that achievement (or person) would also receive an award. Actor Fredric March had one more vote than competitor Wallace Beery, but because the votes were so close, the Academy honored both of them. (They beat the category’s only other nominee, Alfred Lunt.) March won for his performance in horror film Dr. Jekyll and Mr. Hyde (female writer Frances Marion won Best Screenplay for the film), and Beery won for The Champ, which was remade in 1979 with Ricky Schroder and Jon Voight. Both Beery and March were previous nominees: Beery was nominated for The Big House and March for The Royal Family of Broadway. March won another Oscar in 1947 for The Best Years of Our Lives, also a Best Picture winner. Fun fact: March was the first actor to win an Oscar for a horror film.

2. BEST DOCUMENTARY SHORT SUBJECT // 1950

By 1950, the above rule had been changed, but there was still a tie at that year's Oscars. A Chance to Live, an 18-minute movie directed by James L. Shute, tied with animated film So Much for So Little. Shute’s film was a part of Time Inc.’s "The March of Time" newsreel series and chronicles Monsignor John Patrick Carroll-Abbing putting together a Boys’ Home in Italy. Directed by Bugs Bunny’s Chuck Jones, So Much for So Little was a 10-minute animated film about America’s troubling healthcare situation. The films were up against two other movies: a French film named 1848—about the French Revolution of 1848—and a Canadian film entitled The Rising Tide.

3. BEST ACTRESS // 1969

Probably the best-known Oscars tie, this was the second and last time an acting award was split. When presenter Ingrid Bergman opened up the envelope, she discovered a tie between newcomer Barbra Streisand and two-time Oscar winner Katharine Hepburn—both received 3030 votes. Streisand, who was 26 years old, tied with the 61-year-old The Lion in Winter star, who had already been nominated 10 times in her lengthy career, and won the Best Actress Oscar the previous year for Guess Who’s Coming to Dinner. Hepburn was not in attendance, so all eyes fell on Funny Girl winner Streisand, who wore a revealing, sequined bell-bottomed-pantsuit and gave an inspired speech. “Hello, gorgeous,” she famously said to the statuette, echoing her first line in Funny Girl.

A few years earlier, Babs had received a Tony nomination for her portrayal of Fanny Brice in the Broadway musical Funny Girl, but didn’t win. At this point in her career, she was a Grammy-winning singer, but Funny Girl was her movie debut (and what a debut it was). In 1974, Streisand was nominated again for The Way We Were, and won again in 1977 for her and Paul Williams’s song “Evergreen,” from A Star is Born. Four-time Oscar winner Hepburn won her final Oscar in 1982 for On Golden Pond.

4. BEST DOCUMENTARY FEATURE // 1987

The March 30, 1987 telecast made history with yet another documentary tie, this time for Documentary Feature. Oprah presented the awards to Brigitte Berman’s film about clarinetist Artie Shaw, Artie Shaw: Time is All You’ve Got, and to Down and Out in America, a film about widespread American poverty in the ‘80s. Former Oscar winner Lee Grant (who won the Best Supporting Actress Oscar in 1976 for Shampoo) directed Down and Out and won the award for producers Joseph Feury and Milton Justice. “This is for the people who are still down and out in America,” Grant said in her acceptance speech.

5. BEST SHORT FILM (LIVE ACTION) // 1995

More than 20 years ago—the same year Tom Hanks won for Forrest Gump—the Short Film (Live Action) category saw a tie between two disparate films: the 23-minute British comedy Franz Kafka’s It’s a Wonderful Life, and the LGBTQ youth film Trevor. Doctor Who star Peter Capaldi wrote and directed the former, which stars Richard E. Grant (Girls, Withnail & I) as Kafka. The BBC Scotland film envisions Kafka stumbling through writing The Metamorphosis.

Trevor is a dramatic film about a gay 13-year-old boy who attempts suicide. Written by James Lecesne and directed by Peggy Rajski, the film inspired the creation of The Trevor Project to help gay youths in crisis. “We made our film for anyone who’s ever felt like an outsider,” Rajski said in her acceptance speech, which came after Capaldi's. “It celebrates all those who make it through difficult times and mourns those who didn’t.” It was yet another short film ahead of its time.

6. BEST SOUND EDITING // 2013

The latest Oscar tie happened only three years ago, when Zero Dark Thirty and Skyfall beat Argo, Django Unchained, and Life of Pi in sound editing. Mark Wahlberg and his animated co-star Ted presented the award to Zero Dark Thirty’s Paul N.J. Ottosson and Skyfall’s Per Hallberg and Karen Baker Landers. “No B.S., we have a tie,” Wahlberg said to the crowd, assuring them he wasn’t kidding. Ottosson was announced first and gave his speech before Hallberg and Baker Landers found out that they were the other victors.

It wasn’t any of the winners' first trip to the rodeo: Ottosson won two in 2010 for his previous collaboration with Kathryn Bigelow, The Hurt Locker (Best Achievement in Sound Editing and Sound Mixing); Hallberg previously won an Oscar for Best Sound Effects Editing for Braveheart in 1996, and in 2008 both Hallberg and Baker Landers won Best Achievement in Sound Editing for The Bourne Ultimatum.

Ottosson told The Hollywood Reporter he possibly predicted his win: “Just before our category came up another fellow nominee sat next to me and I said, ‘What if there’s a tie, what would they do?’ and then we got a tie,” Ottosson said. Hallberg also commented to the Reporter on his win. “Any time that you get involved in some kind of history making, that would be good.”

nextArticle.image_alt|e
Amazon
arrow
Pop Culture
Mister Rogers Is Now a Funko Pop! and It’s Such a Good Feeling, a Very Good Feeling
Amazon
Amazon

It’s a beautiful day in this neighborhood for fans of Mister Rogers, as Funko has announced that, just in time for the 50th anniversary of Mister Rogers’ Neighborhood, the kindest soul to ever grace a television screen will be honored with a series of Funko toys, some of them limited-edition versions.

The news broke at the New York Toy Fair, where the pop culture-loving toy company revealed a new Pop Funko! in Fred Rogers’s likeness—he’ll be holding onto the Neighborhood Trolley—plus a Mister Rogers Pop! keychain and a SuperCute Plush.

In addition to the standard Pop! figurine, there will also be a Funko Shop exclusive version, in which everyone’s favorite neighbor will be wearing a special blue sweater. Barnes & Noble will also carry its own special edition, which will see Fred wearing a red cardigan and holding a King Friday puppet instead of the Neighborhood Trolley.

 

Barnes & Noble's special edition Mister Rogers Funko Pop!
Funko

Mister Rogers’s seemingly endless supply of colored cardigans was an integral part of the show, and a sweet tribute to his mom (who knitted all of them). But don’t go running out to snatch up the whole collection just yet; Funko won’t release these sure-to-sell-out items until June 1, but you can pre-order your Pop! on Amazon right now.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios