11 Complicated Facts About Shaft
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.