Black Caesars and Foxy Cleopatras: A History of Blaxploitation Cinema

by Odie Henderson

A definitive account of Blaxploitation cinema—the freewheeling, often shameless, and wildly influential genre—from a distinctive voice in film history and criticism

In 1971, two films grabbed the movie business, shook it up, and launched a genre that would help define the decade. Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song , an independently produced film about a male sex worker who beats up cops and gets away, and Gordon Parks’s Shaft , a studio-financed film with a killer soundtrack, were huge hits, making millions of dollars. Sweetback upended cultural expectations by having its Black rebel win in the end, and Shaft saved MGM from bankruptcy. Not for the last time did Hollywood discover that Black people went to movies too. The Blaxploitation era was born.

Written by film critic Odie Henderson, Black Caesars and Foxy Cleopatras is a spirited history of a genre and the movies that he grew up watching, which he loves without irony (but with plenty of self-awareness and humor). Blaxploitation was a major trend, but it was never simple. The films mixed self-empowerment with exploitation, base stereotypes with essential representation that spoke to the lives and fantasies of Black viewers. The time is right for a reappraisal, understanding these films in the context of the time, and exploring their lasting influence.

Genres: Nonfiction, History, Film, Media Tie In, African American, Race, Pop Culture

304 pages, Hardcover

First published February 6, 2024

Reviews

[Erin · Rating 4 out of 5]

4.5 Stars!

My Top 5 Blaxploitation Films
1. Coffy
2. Foxy Brown
3. Sweet Sweetbacks Baadassss Song
4. Cleopatra Jones
5. The Mack

Honorary mentions are 2 Blaxploitation spoofs
1. I'm Gonna Git You Sucka
2. Hollywood Shuffle

What is a Blaxploitation film?

I think it depends on who you ask. This book includes Sparkle, Mahogany and Cooley High but I don't think those movies qualify. Since the term was retroactively placed on movies of the 70s I think the term is open to interpretation. If we were to expand the timeline then I would say movies like White Chicks and Soul Plane count. I was surprised to learn that the movie it's thought by many to have ended the Blaxploitation era is The Wiz....Great movie...bad movie but great movie.

Blaxploitation has often been used as a put down. Blaxploitation films are looked down on and critics said that the movies set Black people back. I wasn't alive in the 70s but I think movies like Shaft are just as important as mini series like Roots or movies like In The Heat of the Night. Black people are well rounded and we deserve important films and fun violent stupid films too.

So back to my original question

What is a Blaxploitation Film?

For me the most important aspect is that Black people win. You leave the film feeling great and energized. If the movie is about revenge than our characters take out all the evil doers. If the movie is about a criminal,than the criminal gets away the crime. You might say "Erin, doesn't that happen in non Blaxploitation films?"
Yes but often in Black films predating Blaxploitation and even today, the Black people must suffer or be humbled. Or the Black characters have to moral and upstanding. I don't care much for Sidney Poitier as an actor or person but his films are the type that the NAACP types wanted made...but I'd take Shaft anyday over Guess Who's Coming to Dinner.

This book is fun and engaging read. I talked with my dad about the movies discussed in this book, he's seen most of them and we plan on watching some of the ones we've never seen together. If you love movies this is the book for you.

I highly recommend this book!

[Lois · Rating 5 out of 5]

This audiobook was made available for me to listen to and review by Odie Henderson, Tantor Audio, and NetGalley.

This audiobook is narrated by the author, Odie Henderson. Having the author narrate their own work can sometimes go wrong. Not in this case, though. I loved hearing Odie's own excitement and emotion as he narrated this fun book.

This is for folks who know and love these movies as well as for folks who've not watched a single movie and aren't entirely sure what blaxploitation movies are. This is a fun and fundamental education about this era in film, told in a nostalgic tone.

I grew up in the 80s, so I missed the opportunity to see these movies in the theatre. Like the author, I grew up patronizing first family or individually owned video rental stores and then Blockbuster once they put the smaller places out of business. Unlike the author, my parents and family did not rent or talk much about blaxploitation films. My first exposure to the blaxploitation genre was in high school. I had a teacher who was a fan, and I think I rented and watched Shaft. I grew up in Detroit, so I'm somewhat surprised that I didn't have more exposure.

This book takes you behind the scenes of this era; the movies, the actors, and the filming itself. I truly loved this. This made me miss my late father tremendously as he was a huge movie buff, and I bet he saw these films in the theatre. After Eddie Murphy did that Netflix Dolomite movie, my husband and I laughed all through the original movie. These movies represent an era, and I enjoyed this history tremendously.

I grew up watching Spike Lee Joints, and I want to point out that these blaxploitation films proved that a Black audience existed and paved the way for filmmakers like Lee. I also want to say that this covered early Black filmmakers like Oscar Micheaux, this is a thorough history of Black Cinema.

Thank you to Odie Henderson, Tantor Audio, and NetGalley for the opportunity to listen to and review this audiobook. All opinions and viewpoints expressed in this review are my own.

[Martin Maenza · Rating 4 out of 5]

Abrams Press provided an early galley for review.

In the early 1970's, the era that Henderson focuses on for his book, I was just a kid (way too young to see any of these in the theater). As I grew up, I had a passing awareness of blaxploitation films but that's about as far as my knowledge on the subject went. Henderson's book changed all of that. This was very much a crash-course on the subject.

He does a fantastic job talking about these films, from the plots to the production to the cultural impacts. His year by year approach puts each of them in the context with other events occurring at the time as well.

For readers who enjoy detailed looks at films, this one is a definite read.

[John Schorg · Rating 3 out of 5]

If you grew up in the era covered in this book, you will be reminded of some of the great pleasures of moviegoing in the 1970s. When you didn't have access to art house cinema, you grew up watching movies with Pam Grier and Jim Brown, as well as Charles Bronson and Burt Reynolds. Many of them weren't great, but they all had an energy that made you want to watch more. Henderson does a good job of detailing several films from the era, particularly the Grier movies. I wish there had been more about some of the other actors of that time, like Thalmus Rasulala, Brenda Sykes, and Vonetta McGee, and there isn't enough on Jim Brown's work for my liking. Finally, I wish the folks who write books like this weren't so convinced that readers are that interested in hearing details about the authors' lives rather than just talking about the movies. The gold standard for this type of reporting remains the Elvis Mitchell documentary "Is That Black Enough For You?!?"

[Theresa · Rating 5 out of 5]

My only complaints are: there are no notes on sources for facts, possibly because all facts are verifiable on teh interwebs, which was the case with the book on Go Ask Alice I read a month ago. Maybe this is a trend I missed till now.

I would have liked some color plates of the movie posters and some film stills.

Other than that and the error on my library's edition on page 109, this book is amazing. I don't think the author gave us too much personal information (although he DID mention Harry Belafonte's bare behind three times). Perhaps the reviewer who was of this opinion was not into the exposition parts to the chapter where the current events of the time period were mentioned. I found this information to be extremely informative for giving contextual background.

And to all reviews where the complaint is that it isn't an exhaustive reference on cinema; the author states this book is NOT that in the introduction. Perhaps if you had READ the introduction you could have adjusted your expectations accordingly.

ANYWAY, Odie Henderson has great taste, a snappy writing style that is as succinct as it is humorous , and is an expert on Blaxploitation cinema. It's an infectious joy to read, thank you for writing it Mr. Henderson.

[Kendra · Rating 5 out of 5]

This is a great account of Blaxploitation films of the 1960s and 70s. I love Odie Henderson's personal and very deep takes on his top (and the most important--not always the same!) movies, the tropes, the actors, and producers for a huge swath of Black pop culture. This is a total joyride through the movies, their connections, and catchphrases. It's also an astute and thoughtful analysis of Black movie culture, as well as music, comedy, and more. Go read it, then watch some of the movies, if you haven't seen them already, and consider watching Eddie Murphy's recent *Dolemite Is My Name,* a fantastic biopic of Rudy Ray Moore, one of the filmmakers discussed in the book. You're in for a great time.

[Alise · Rating 5 out of 5]

This was a great in-depth look at Blaxploitation cinema. It orients us to the film industry for black creatives prior to blaxploitation films, how they came to be, the full history of the blaxploitation era, and then the fall of it. It was well researched, easy to follow and I think you could enjoy it even if you've never seen or heard of a blaxploitation film before. I purchased the hardcover myself and then received a free audiobook from the publisher via Netgalley. It is read by the author and he does a great job.

I definitely recommend this one if you have any interest in the subject and want to learn more.

[Tom Monahan · Rating 5 out of 5]

A thorough and important study of “blaxploitation “ films. The author has done impressive research, exploring every aspect of the films from casting and music to critical responses. An important text for film lovers.

[Edwin Arnaudin · Rating 5 out of 5]

Witty, insightful, hilarious -- everything one could want from a film book.

[Jake · Rating 4 out of 5]

Part of the reason academics suck is that they turn exciting subjects into…well…works of academia. They write like their audience is a panel of over educated intellectuals judging their work and not the unwashed masses.

That’s why a book like this is so much fun! The writer loves the subject. It’s an awesome subject! And he has fun with it. I got a comprehensive view of the rise, zenith, fall of 70s blaxploitation films and had a blast while doing it. Please, if you’re gonna write about cool stuff, take a cue from Odie Henderson and act like you enjoy it!

[Katie Singer · Rating 5 out of 5]

Informative plus entertaining. Henderson's writing is casual enough to keep you engaged and yet carries an authority that makes you know he knows just what he's talking about.

[Chavon · Rating 4 out of 5]

This book was very informative and funny! Odie is a wealth of knowledge on Blaxploitation and therefore Black history. I had the pleasure of hearing him speak about this book and was blown away at how he rattled off dates, actors, movies, and producers.

There is A LOT of name dropping on this book. It was some times hard to keep up. I wish there was some sort of Blaxploitation chart/tree to help me keep up visually lol

[Josh Avery · Rating 3 out of 5]

The history of Blaxploitation from 1970 through 1975 told by a southern, black film critic who grew up in the era of these movies.

The actual definition of "Blaxploitation" has never been clearly explained, but, the author (as he refers to himself around 75 times) puts it in layman's terms as "A film, predominantly starring, written and directed by black people where the black people don't die at the end." It seems rather simple, but, I think it defines the genre pretty well. He uses Sweet Sweetback's Baaddasssss Song and Shaft as his starting points. Both of these movies are seminal and considered classics, having seen them both, I would certainly agree. There are a handful of movies, one or two each year that he profiles, among them, Across 110th Street, Three the Hard Way, Willie Dynamite, Super Fly, Dolemite, Blacula and all of its sequels and ending it with The Wiz as the jump the shark moment of the genre. The stories of these movies all vary in their craziness and how some were even made is nuts.

He also profiles a small amount of people he deems as the most important of the genre: Melvin Van Peebles, who did everything possible to get Sweet Sweetback released, to Richard Roundtree, Yaphet Kotto, Thalmus Rasulala, Bernie Casey, Chiefs Legend Fred "The Hammer" Williamson, Jim Brown and the queen of Blaxploitation, Miss Pam Grier. (Her book is next) He also discusses the Bill Cosby sized elephant in the room, trying to logically discuss the movies he did with Sidney Poitier while separating the actor from the man.

This book is a B, he refers to himself in the third person a lot and is a bit "look at me Louie" in his name dropping. I love the subject matter and strongly recommend viewing any of the above movies (and so many more) like The Mack, Foxy Brown, Coffy, etc. if you are interested in the genre. The book is a good resource if you are familiar with the genre and want to know more.

[Dan · Rating 4 out of 5]

My thanks to both NetGalley and the publisher Abrams Press for this advanced copy of this book the on the history and lasting impact of genre of films, with many subsections that came to be called Blaxploitation, and how awesome and culture changing many of these films were.

My father was a complicated man, who I don't think was ever really understood by his woman, my mom or my brother and I. My father was born a Bronx Irish Catholic, who loved watching Soul Train, played Tina Turner before she became big with Private Dancer, Richard Pryror Redd Foxx and Cheech and Chong, and exploitation movies. To this day we have no idea how he knew all this stuff. Working nights messed up my Dad's sleeping habits and he would stay up late watching our illegal cable box downstairs on his day off, fixing things that were kind of broken, and as his oldest and most insomniac child, I would join him. A movie would start to play and he knew it, or see someone in the cast and go, ohh this will be terrible, sit back Dan we are going to have fun. And boy did we. Hammer films, drug films, drive-in films, Flash Gordon, and William Castle films. But what always made him happy was Blaxploitation films. He loved the fashion, the cars, the action, the bad dialogue. And I know he would have loved this book, and kicked himself at the movies he might have missed. Black Caesars and Foxy Cleopatras:A History of Blaxploitation Cinema by the chief critic of the Boston Globe, Odie Henderson is an ode, a paean to a lost time and era, where the hair was big, the fashions loud, and so were the beatdowns. When a films gave hope to a large group of people, saved a lot of studios, and influenced many of the films we watch today.

Henderson starts with a history of representation in Hollywood films, which except for some films that were all black productions, was slim to none. Even the most trained of actors were given roles as drivers, cleaners or more likely criminals in many films. The dominate thought was that black movies don't make money, and no one will see them. With again rare exceptions that somehow slipped past. This lasted until the 60's when the film studios were losing money huge products no on cared about, television was draining audiences, and stockholders wanted returns. Melvin Van Peebles with his movie Sweet Sweetback’s Baadasssss Song, was ignored, until it started to make money, lots of money. Followed by Gordon Parks' Shaft, which not only made money at the theaters, but also made money on its soundtrack. This proved there was an audience for movies with black stars, and even black directors Soon a new genre was born, with lots of product, good and bad, filling theaters, in New York and Los Angles, and many a drive-in in between. Action movies, prison movies even a werewolf movie. Many of these were cash in movies, made for a quick buck, but some asked more of audiences, who appreciated it, or passed on it, waiting for later generations to discover many great films.

Odie Henderson loves movies, and is gifted and blessed with the fact that he is a very good writer that conveys this love, and was blessed with a family that brought him to grindhouse theaters to see these movies at a very young age. Henderson and I are about the same age, and in his writing I can feel his excitement, in seeing this movies, and learning quite a lot about life they didn't have in Saturday Morning Cartoons, though I was a white kid in the suburbs. For Henderson these movies were and stay important. And probably fed his love for films, which like I said must be a long romance based on his writing. This is not an A-Z guide, Henderson writes the history of the era, with looks at critical films, and key members cast, crew and those who protested these kind of films. A very complete history and one I found fascinating, with looks at movies I never knew, and new ways of appreciating films that I have seen numerous times.

Recommended for movie fans, and especially for those who love genre films or well written histories of cinema. This is a very funny, very well-written book with lots of information, insight and history on a genre that really has influenced culture, television, films, and video games. My Dad loved reading too, and he would have snagged this from my hands just to look at, and while reading would call out stuff that he really liked. A great book, and something that no real film person should be without.

[Greg · Rating 3 out of 5]

Was really on the fence between a three and a two star rating for this one.

I'll start with the good: The Author does really go deep into the genre for this book. It contains a wealth of factoids dues to what seems like very thorough research and interesting enough personal experiences with the genre that it does feel like you are getting a very comprehensive deep dive into Blaxploitation. I found it to be a valuable resource to get some titles I'd never seen into my watchlist AND to gain even more background knowledge on some of my favorites. I was so happy that the Spook Who Sat by The Door got it's own chapter, as it can often be overlooked. I also love how the book is told in the chronological format by year, which begins with a call sheet of several big current events from that year, providing context to what was going on in the world outside the movie theater.

Unfortunately, I did have some problems with the book. I think the author couldn't decide if he was writing this as an Historian, or as a Critic, or as fan appreciation. It tends to jump around quite a bit, and sometimes I'm ok with this if it is done seamlessly. That's not the case here, as the jumps here were rather jarring. A lot of this had to do with the Author sliding into a kind of Twitter-Shorthand that seemed more like they belonged in Engagement-bait Movie tweets as opposed to this comprehensive look at a specific genre. For example, he throws in that "Antonioni is boring" and that The Big Chill is a "piece of garbage". When I shared this with my friend, he told me "but, Antonioni IS boring" Haha, ok... So maybe it just bothered me personally because I'm a fan, BUT actually it's really because both statements are thrown in a propos of absolutely nothing. You're deep into this story and an inciting blurb jumps off the page out of nowhere, and it just pulls you right out of the book. It's a bummer because it only seems to be in there to show how clever the author is? To show off that he know about other stuff outside of Blaxploitation? To fire off an unrelated film opinion that no one can respond to? It makes it feel less like a history book and more like Twitter discourse (I should have maybe taken it as a warning sign that there is a Praise Quote on the jacket from MZS, one of the most insufferable Film Twitter "personas" out there.)

There are also some odd interview breaks within the book. Which, in theory, I think was a very cool idea. There is a great interview with producer Jeff Schechtman, who worked for Arkoff and Corman and was kind of in the Blaxploitation trenches, as it were. The other 2 interviews were just with contemporaries of the author and didn't seem to really serve any purpose aside from the author getting to share additional "stuff he knows" or have his opinions affirmed by others. I mean.. The Expert he interviews on Buck and the Preacher was someone who had seen the movie for the first time during lockdown!?! Ok.

Finally, I have to say that when I arrived at the Chapter on Rudy May Moore, who is a personal favorite, and the reason I got into Blaxploitation to begin with, I was a little let down. What upset me wasn't that it came so late in the book (it was chronological, after all) nor did it upset me that only 2 and half pages out of a 290 page book were dedicated to RRM's contribution to the genre (AND the following chapter is twice as many pages about how bad Mandingo was). I get that because I'm a fan of RRM, I'm likely over-estimating his contribution to the genre. What bothered me were the first 5 words of the chapter: "Alabama native Rudy Ray Moore...". I'm no scholar, but even I know RRM is from Ft Smith Arkansas. It's fine, I get it.. These things happen, and this is also on the editors for not fact-checking. But, I can't help but think back on what other errors or misinformation there could be in the book. It did make some editorial errors standout more. Pages 109 and 175 end abruptly, and mid-thought as if a page is missing. Definitely not the author's fault there, but I can't help but question the overall integrity of the book.

Ultimately, I'm giving a three star rating because it is a breeze to read, and it is informative and engaging enough for me to have overcome its shortcomings and finish the book. The author is very relatable through most of the book and you really do get the sense that you're being guided through this history lesson by someone who likes this stuff as much as you do.

[Jesse · Rating 4 out of 5]

Like a 3.75, maybe? This is a serious, personally-inflected take on the 1970-78 period, with detours backward and forward, and Henderson's takes on particular movies, including a bunch I haven't seen or heard much about, makes me want to see them. Henderson's placement of these films in his own experiences gives his discussions texture and depth and leads to some very funny asides about, say, the most majestic Afros, both natural and processed, he's seen on film. The strongest part, for me, was his brief biographical detours into almost every major actor's life, which highlight the degree to which their time in Blaxploitation represented for many only a very small slice of a much richer experience. He also smartly locates these movies both within film history and Hollywood at the time--one of the best half-chapters mocks the eminently mockable Live and Let Die--treating the fundamentally exploitative genesis of most, though not all, of these movies (turns out there's a documentary on The Spook Who Sat by the Door, which the FBI maybe tried to suppress and which maybe also inspired, if that's the word, the SLA; must check that out) in what strikes me as the appropriate proportion. So, a lot of good things--and also a range of unexpected detours, including concert films. Drawbacks? Some sloppy phrasing (the number of actors referred to as "ubiquitous Blaxploitation stars," every time they're mentioned, is way too high), some not-that-revealing interviews, and most of all, I just wanted him to theorize more about what he thinks of the whole enterprise. A number of the chapters just kind of stop, which feels like a product of that lack of broader thematic address, and his celebrations of best lines fall flat more often than I'd like. There's passing discussion of the NAACP's famous take (simplistic and problematic, certainly) on these movies as cultural genocide, but the overall point, to the extent there is one, seems to reflect the introduction's note about movies where "we get to win." Which, sure, but I was left wanting just a little more.

Addendum: This led me to Elvis Mitchell's fab documentary, Is That Black Enough for You?!?, which somehow I'd managed not to see before now. What a great, thoughtful, and wide-ranging piece of work.

[Barbara Arnett · Rating 3 out of 5]

Good book about the Blaxploitation film genre of the 1970s. The author does not specifically define the term Blaxploitation but it generally refers to films made by black directors and actors for Black audiences. He takes a historical chronological approach beginning with a prologue that notes early roles for Black actors were primarily playing servants like Hattie McDaniel in Gone with the Wind (she won an oscar for her performance.) Over time, popular performers like Sidney Poitier and Harry Belafonte proved to be catalysts for the Black box office. The author designates the 1972 film Super Fly as the Citizen Kane of Blaxploitation films. Also, that year the NAACP and CORE formed a coalition known as CAB (Coalition Against Blaxploitation) demanding better quality films. The first half of the book is more interesting since it discusses the cultural/political and economic aspects of the film genre. The latter half of the book gets a bit bogged down by detailed plot analyses of the films. The book frequently references the documentary by Elvis Mitchell Is that Black Enough For You!?! A good documentary which highlights many of the films mentioned in the book. Not available at SPL but is on Netflix. The book ends with the Top Ten Best Blaxploitation Songs because “Soundtracks are just as important to Blaxploitation as the super fly clothes and badass heroes.” (p. 279). I’ll tell you number one, but you will have to borrow the book for the full list. The Theme From Shaft by Isaac Hayes. “You knew this was number one. It won the Oscar. It’s the coolest damn theme song in Blaxploitation history!” (p. 281)

[Tim Nistler · Rating 4 out of 5]

If you like movies and in particular Blaxploitation cinema, then this is a good read for you. It is, more or less, a year-by-year account of the films that fall under the category of Blaxploitation. Mr. Henderson is obviously a fan of this era and I really enjoyed his breakdown of each film. I know that some folks who reviewed this work weren't a fan of Mr. Henderson "including" himself into it, but I liked it. There are some short interviews with different people sprinkled throughout the book that adds a nice touch.

The one thing that about the book and I don't know if all editions have this, but there are a few chapters that just stop - even before a sentence is completed. It was very strange and it happened in at least 3 chapters.

My list of "to be watched" films really grew from reading this book and I'll probably revisit some of the sections after watching the films. A good read to be sure.

[Craig Pittman · Rating 5 out of 5]

An outstanding overview of how Blaxploitation cinema rose, thrived and fell, with lots of side-trips down such avenues as why "The Wiz" was a disaster, how "Cooley High" spawned the TV show "What's Happening" and what were the top 10 best Blaxploitation soundtrack songs. (You already know No. 1 -- shut your mouth!)

Everyone interested in this topic owes Odie Henderson a huge debt of gratitude for his clear-eyed discussion of such topics as the role of the rating system, the reactions of white critics to these films and how Joel Schumacher somehow became the voice of Black America. I also loved his little asides, such as reporting that he first saw "The Exorcist" at age 5 and thought it was hilarious.

My only complaint about the book is that there are no pictures. I'm happy to read about, say, Fred Williamson or Tamara Dobson, but I wanted to see what they looked like, too. We really NEED a picture of Franklin Ajaye's Afro in "Carwash."

[Zach Church · Rating 4 out of 5]

Entertaining, insightful, and packed with information. This was a great read and my watchlist swelled. I'd seen many of the most well-known films already, as well as a few of the less well-known (please everyone seek out Uptight and The ___ Who Sat By The Door. Both are incredible). But there were so so many more.

It _maybe_ could have done without so many full synopsis of films, but ymmv.

Lastly, Abrams Press could have done better here. In a few cases, a full page of text was unreadable because solid black was printed over it. And this book could really use an index.

Overall, though, an excellent read. Readers will get more out of it if they have seen at least a few of the movies discussed here.

[J Earl · Rating 1 out of 5]

My apologies for having to do this to a good book, but, I am having to adjust my rating to reflect the inconsistency of the publisher and their complete lack of response to several inquiries concerning their inconsistency. They are what they are, buyer beware, and the new rating reflects what the publisher is, though it would be lower if I could do it.

Black Caesars and Foxy Cleopatras by Odie Henderson is an excellent look at the Blaxpoitation films, both what they represented at the time and how their influence has affected what we watch today.

I graduated high school in 1976, so this period is part of my growing up years. We moved fairly often and a couple of the places I lived had both theaters within walking or bicycling distance as well as a mixed demographic which allowed films like this to play for more than one quick week. This gave me the chance to see some of these first run. While they were certainly a catalyst for part of my social education, I have a couple of old friends to thank even more, they took the time to explain how things I found problematic (though I didn't have that word in my vocabulary then, I'm sure) had more meaning than what was on the surface, which was all I could see at first.

As I eventually studied and used film and popular culture in my teaching, these films were usually given a brief chapter in a larger volume, with little to no depth in analysis than to say they were popular and short-lived. There have been a few books since then to give more nuance, and Henderson cites them here, but this volume does a wonderful job of assessing the films both as films and as cultural artifacts.

What I found most useful was the way Henderson doesn't sidestep or ignore the problematic issues, places them in context, then explains how the films were received differently by different audiences (a microcosm of which is represented by my personal teenage experience). It is easy to fall into the trap of judging past work strictly by the standards and sensibilities of today. To truly understand we have to place the work in its own cultural setting as well as look at what might make a similar new work today difficult to make or appreciate.

There is certainly going to be a lot of nostalgia for many readers. Recently a streaming service (maybe the Criterion Channel?) highlighted Blaxploitation films and I watched several for the first time in decades. I wish I had had this book at that time. Any film buff will gain a better appreciation of not just Blaxploitation films but film in general (filmmaking as well as film as social commentary) by reading this work then (re)watching some of the movies. The new perspective will open them up for the viewer.

Highly recommended for both the casual film buff who likes knowing a little more about the genres they watch and for the film scholar (or future filmmaker) who wants to dig deeper into Blaxploitation and maybe learn a little about how to write about film in an analytical but still engaging manner.

Reviewed from a copy made available by the publisher via NetGalley.

[Olivia Peltier · Rating 4 out of 5]

"A History of" books such as Black Caesars and Foxy Cleopatras can so often be stuffy and hard to get through. Odie Henderson approaches the book with the same care, humor, and tongue-in-cheekness as the makers of the films he writes about. There is a LOT of information here but Henderson's writing style and passionate knowledge of the subject makes it digestible and a fun read for film and history buffs. Henderson's chronological approach situates each film/maker in cultural context both cinematic and otherwise, which I think broadens the book's appeal beyond just film buffs.

[James · Rating 4 out of 5]

This is a solid survey of Blaxploitation films from their earliest emergence in the late 60's to the film the author considers the death nail in the genre's coffin. Its a brisk jog through 1970's cinema history dropping fistfuls of names in front of and behind the camera like coins while sketching out reviews for films still worth watching and those that can't be redeemed by modern cynicism. A promising first book from a professorial film fan and writer and essential course starter for curious young film fans or anyone interested in the origin of many modern movie tropes and hip hop samples.

[Jake · Rating 4 out of 5]

Really great read. I feel like with most film history books I go in with a general idea of the era, movies, and people involved, so it was really refreshing to read a history wherein I knew a handful of titles and nothing more. Henderson does a great job of making his subject matter into an entertaining and educational narrative, and I particularly enjoyed when he leans into his personal, subjective experiences with these movies. Will definitely be watching some of the films mentioned soon.

[Kenny · Rating 3 out of 5]

I usually don't write to support my rating but this is a bit special. I really enjoyed the book, definitely a solid four stars. However, at least two chapters ended mid-sentence! This was/is quite baffling. I re-read the sentence trying to figure out what I was missing. Beyond that I would strongly recommend this for anyone interested in 70's cinema. K-

[Brittany Willis · Rating 4 out of 5]

This book helped me realize just how influential the blaxploitation era has been on black culture. A thorough examination of the circumstances that led to the creation of the films that defined the genre (for better or for worse), Mr. Henderson's work is part-historical analysis, part-film critique, and part-ode. If you like blaxploitation films, you'll appreciate this book.

[Mark Phillips · Rating 4 out of 5]

This book did just what I needed it to do—serve as the backbone for a nostalgic dive into the actual movies. I watched fourteen films in the week I read this book and enjoyed them all the more knowing their context, details of their production, and insights into the motivations of their creative talent. Henderson is an engaging writer, and his enthusiasm for his subject matter is infectious.

[Scott Delgado · Rating 3 out of 5]

3.5 Stars.

I know very little about the genre, but I really enjoyed the enthusiasm of the author. The book has a bunch of information, and because of the book, I'm going to check out some of the films as well as some books. I'm glad I read it.

[Steve Erickson · Rating 4 out of 5]

I'm reviewing this book for Artsfuse. When it's published at the end of January, I will link it here.

[Savannah Elmore · Rating 4 out of 5]

I am not much of a movie person, but it was interesting to learn about a time and genre of movie I really didn't know much about!