Willie Dynamite

As all fans of exploitation cinema will know, there were many, many blaxploitation movies released during the 1970s after Melvin van Peebles left an incredibly impression on black audiences with Sweet Sweetback's Baadasssss Song in 1971. While many are rather enjoyable in a comical way, few works of blaxploitation were actually any good. Tony Award-nominated Broadway director Gilbert Moses' Willie Dynamite is incredibly under-seen, but is one of the genre's most impressive works, shunning the usual hyper-stylised, lightly comic beats in favour of something more serious and dramatic, while also touching on themes such as black identity, racism and police corruption.

New York pimp Willie Dynamite (Roscoe Orman) has built himself a mini-empire, training his girls to work like a production line to maximise profits and keep his many customers happy. While his clothes are utterly outlandish (there are some of most ridiculous outfits ever seen in the genre here), Willie ain't no lovable scamp like Super Fly (1972), but a real piece of s**t; he regularly threatens his girls with violence, underpays them, and fails to offer any help when they get themselves arrested. When he's late to turn up to court for his most recent arrival Pashen (Joyce Walker), prostitute-turned-social worker Cora (Diana Sands) takes a particular interest, and becomes intent on rescuing Willie's girls and ending his reign of terror.

For a genre normally so rich in exploitative traits, Willie Dynamite contains no nudity and little violence, earning its adult rating instead for language and drug use. The lack of sex and action scenes leaves plenty of room for drama and character building, and Willie's journey to discovering his place in society and ultimately redeeming himself is all the more engrossing for it. Anyone familiar with Sesame Street will be left shocked at the sight of Orman wearing some of the most garish costumes ever committed to celluloid and trying to keep his bitches in check, and it's a very convincing performance. But it is in fact Diana Sands, who sadly died shortly after filming, who steals the film as the force of nature with a gentle side. Ripe for re- discovery, there's much more to Willie Dynamite than I would have ever expected. Now, bring me some scratch.

Willie Dynamite is most certainly one of the most flamboyant pimps to ever grace the screen and his "stable" of beautiful women are frequently scantily clad, but don't let the smooth taste fool you, Willie Dynamite is not your average pimp film.

"Willie Dynamite" was at times thought-provoking, frequently intense and entertaining throughout. Watching Willie Dynamite fall from pimp grace makes for some interesting drama.

Roscoe Orman is great as the fallen pimp and Diana Sands is brilliant as always but there is much to be said about the performance of the young Joyce Walker, Willie's newest and most inexperienced 'treat'. This film's motto seems to be 'even an old dog can learn new tricks' as each of the main characters undergo some form of transformation before the credits start rolling.

8/10 stars

The ad and plotline for this movie may give you the impression that Willie Dynamite is a typical blaxploitation actioner with heavy doses of violence and sex but that is not the case. Willie Dynamite deals with a NYC pimp (Orman) who must deal not only with the police and a dedicated social worker (Sands), but also his fellow pimps who resent his increasing level of power within the city. There is not much in the way of nudity or blood or even profanity. During the last third of the movie, the story switches gears as both Orman and Sands go through some major changes which cause them to alter their outlook and approach to their lives. In doing this, Willie Dynamite goes in a different (and less sensational) direction than many films of this period chose to go. The film also takes on a higher level of believability which helps to bring the two main characters to life. Both Orman and Sands are impressive in their roles. It is sad to note that Sands died shortly after making this as she was a very talented woman. Orman, believe it or not, went on to become a staple on TV's Sesame Street as Gordon! Now that's a change of pace. His fur coats and fur hat add some unintentional laughs to the story, though at the time this was made, they were probably in vogue. In fact, Willie Dynamite has a great early 70s ambiance that many of the bigger movies of the time did not contain. Willie Dynamite may not be the best known of the blaxploitation genre but it deserves more attention than it got.

Not a very common blaxsploitation film released through Universal Pictures. This one had a decent budget and starred the one and only Gordon from Sesame Street (Roscoe Orman). It was a little odd watching him play a pimp but he did do an amazing job. I wonder if this role landed him the job as Gordon.

This isn't really exploitative at all with no violence or nudity instead tells a story of a pimps hardships with the police always arresting his girls and shaking him down constantly. His competition works him over as well every chance they get. His biggest problem seems to be his mother who obviously disapproves of his life choice.

A great film all the way through but the only thing missing was a funky soundtrack.

It is impossible to deny that this film has some hilarious parts. You can't help enjoying the absolutely ridiculous outfits and mannerisms of the pimps.

Everything from Willie's beyond gaudy car to even the characters' names (i.e. the white pimp named Milky Way) is pretty entertaining.

But it does have some serious (well okay, maybe not serious) implications as well. It is basically set up like most classic tragedies; a man in a position of great power falls due to a tragic flaw. Willie is likable enough not to deserve our hatred, but ruthless enough that we accept that he deserved his fate. Okay, so it's a bad idea to overthink this movie, but it is important to at least recognize that format.

Furthermore, its social implications are pretty relevant. It portrayed Black and White characters in both positive and negative stereotypes, as well as providing more well rounded characters to serve as positive rolemodels. It started out glorifying the pimp lifestyle and slowly de-glamorized it as a life of dishonesty, drug addiction, violence, and eventual ruin. It may have really given young kids growing up in ghettoes in that era as made something to think about by slowly exposing the harsh realities of a life outside the law. Especially since it also presented positive Black role models who came from similar situations, like Cora, a prostitute-turned-social worker on a quest to help rescue other young girls from a life on the streets.