The Take

Billy Dee Williams stars as a hot shot police detective named Sneed, who's just moved from San Francisco to Paloma, New Mexico, on job-related purposes. From there, he continues his practice of being on the payroll of local criminals. Here, the criminal in question is a kingpin, Manso (Vic Morrow) hiding behind a legitimate company. Sneed is always figuring how to do his job while also accepting this syndicate money, and he even has a business advisor (Sorrell Booke) to help him in his pursuits.

As directed by Robert Hartford-Davis, "The Take" is now somewhat forgotten over time, but it's an interesting little cop / crime film. Part of that stems from the fact that Sneed is so matter of fact about being corrupt. It's all part of the job for him.

There are capably handled action scenes, as well as a fair dose of violence, but "The Take" is fairly standard stuff for the most part. One standout sequence involves the humiliation of an overweight suspect (Robert Miller Driscoll). One thing the viewer will notice is that the screenplay (based on a novel by G.F. Newman) doesn't try to shoehorn in too many romantic scenes with Sneed and the woman he loves (Tracy Reed, gorgeous but infrequently seen). It mostly centres around this milieu of male characters who are sometimes morally compromised in some way. Beautiful photography of the various NM locations is a big plus.

Billy Dee does a solid job in the lead, although the scenario often has his supporting players stealing the movie away from him: Morrow as the sickly kingpin, Eddie Albert as the unknowing police captain, Albert Salmi as a colleague who's ALSO on the take, James Luisi as a trigger-happy thug, the ever-creepy John Chandler as a mystery attendant for the opening trial scene, and A Martinez as the determined young detective Tallbear. But the biggest surprise may be Frankie Avalon's deft performance as a low-level hood who becomes an informant. He has one impressive scene in an interrogation room where he breaks down.

All in all, pretty enjoyable, if not all that memorable.

Seven out of 10.

Billy Dee Williams comes to Arizona to work for Police Chief Eddie Albert. It seems that 'the Syndicate' is moving into Albert's city, and Williams is an expert on them. He's also on the take.

At least in this movie, the anonymous crime syndicate has members with names that sound Italian. Although there is a story involved, of Williams making the occasional effort to come unstuck from the criminals, by and large it's about how he manages to remain undiscovered, and what it does to him, his loneliness and lack of connection to people other than on a professional level. Williams is very good in the role, offering an emotionally guarded performance that occasionally lets his feelings seep through. Vic Morrow, as the local crime boss with a dodgy heart complements him in this relationship, where it's all business in when there's no one else around.

I recently watched The Take (1974) on Tubi. The storyline follows a New Mexico police officer who walks a fine line between upholding the law and turning a blind eye to criminal gangs in exchange for hush money. However, there comes a point where he has to choose a side-and that moment is fast approaching.

Directed by Robert Hartford-Davis (Black Gunn), the film stars Billy Dee Williams (Star Wars), Eddie Albert (Roman Holiday), Sorrell Booke (The Dukes of Hazzard), Vic Morrow (Twilight Zone: The Movie), and Tracy Reed (Running Scared).

There's something satisfying about a protagonist who exists in the moral gray area, and The Take delivers that in spades. Billy Dee Williams shines as a character who is both hero and anti-hero, while the villain is easy to root against. The plot features a few clever twists as the main character faces escalating challenges. The film also includes classic car chases-a staple of the era-and a well-executed final fight scene. Plus, there's a random snake scene thrown in for good measure.

In conclusion, The Take is a fun entry in the blaxploitation genre, with a strong lead performance and some entertaining moments. I'd rate it a 5.5-6/10 and recommend it to fans of the genre.

The 1960's was a tough time for the Police of our country. Along with the Armed Forces, the relentless criticism hit from all sides. The Liberal News Media hit about the hardest and was joined by Hollywood.

This was also the Era of the "BLACKSPLOITATION" Film. That is, movies with mostly Black Actors, in Urban Action Films involving Organized Crime, Narcotics Trafficking, Prostitution, 'Super Flies' and one Bad Ass Black Private Detective to do the job that the local Police Department can't or won't do, and clean up the place.

Eventually, we saw some more intelligent, widely appealing films with Black Themes. These had a great appeal to all of the National and World-Wide Movie Going Audience. We had SOUNDER(1972) and CLAUDINE(1974), which are two good examples.

As with all trends, this Black Urban Action movie fell by the wayside, only to be replaced by another short-ride vehicle. But what would it be? Concurrently with the rise of the Black Film, we saw a trend toward presenting Movies featuring Cops who would do their job, no matter what. Fanatically the pursued our enemies, the Burglar, the Mugger, the Rapist, the Serial Killer, all were arrested and "given the Third Degree", that is interrogated over and over, and again if necessary.

It all began with Clint Eastwood as Inspector Harry Callahan in DIRTY HARRY(1971) and based on the Robbin Moore's true life story THE FRENCH CONNECTION(1971)' with Gerne Hackman, Roy Scheider,Fernando Rey, etc. . The Movies gave the public a Fanatical Hero Cop to ease some of their worries, if even for the two hours of the film's running. A Fictional Hero is, after all, better than none.

The period saw some the better, more brutal modern-day shoot-'em-ups, with many different actors. We had: Charles Bronson in THE STONE KILLER(1973), Roy Scheider in THE SEVEN-UPS(also '73), Michael Morriarity in REPORT TO THE COMMISSIONER(1975). This period also saw two (2) John Wayne Tough Guy Cop vehicles in McQ(1974) BRANNIOGAN(1975);the latter his being a Chicago Police Detective and in the former it's the Seattle P.D. that he's portraying.

It seemed that every studio wanted their own "Dirty Harry" so, we continued on this course and 1974, Billie Dee Williams signed for his Tough Cop Film. And so we saw the release of THE TAKE in May of that year.

In that proverbial old nutshell, Veteran San Francisco Detective Reed(Billy Dee )has accepted a position with a smaller New Mexico P.D. The Boss, Chief Berrigan(Eddie Albert)wants and needs someone with Sneed's experience in dealing with Organized Crime. And "deal" he does, as he almost immediately goes on the pad of Local Gang Boss, Manso (Vic Morrow).

We also find out that the very bright and well educated("So why are you just a Cop, Snead?"). He has also re-located because of a Lady,and such a Lady! Dr. Nancy______(Tracy Reed) and he had been an item, but she took off, 'cause of his job, and he is still carrying a torch for her! (And she is a Doctor, yet!) Early on, we see how Detective Sneed is established as a tough-guy cop, albeit in a more subtle manner. But it is not for the violence portrayed or the disgusting criminal acts that makes this film notable; for it is really tame in this area.

This is the one and only film that is known to this writer, that really looks at corruption in a calm and truly analytical manner. The main character Sneed does accept payoffs. He is very open to many of his being on the "take"! He appears to perform his job as well as any, even better, maybe. But he has this payment coming monthly from bad guy Manso and his crew. How can this be? Most often we have our characters presented in Black & White. They are either good or bad. We see no in betweeners, no varying shades of gray.

THE TAKE gets this point right out in the open, begging the question, can a guy be his own "Privateer" and still uphold the law as he has sworn to so.

We were given this unexpected morsel of 'Food for Thought'. So what about it, whataya t'ink?

NOTE: We almost forgot to give our "HATS OFF" salute to some fine performances in supporting roles. We have A.Martinez as young Detective and Sneed admirer, Tallbear, Albert Salmi(Lt.Dolek),Sorrell Booke as Investment Broker Oscar,James Luisi-Big Time Hood Benedetto and Frankie Avalon as Small Time Gangster/Stool Pigeon-Danny James.

This film essentially begins with a San Francisco police detective by the name of "Lieutenant Terry Sneed" (Billy Dee Williams) arriving in Poloma, New Mexico to help the police department on a case involving a local crime syndicate headed by a man named "Victor Manso" (Vic Morrow). To that effect, as soon as he arrives he finds himself in the middle of a gunfight between the local police and some of Manso's hired killers. Needless to say, thanks to his efforts in that affair, he is heartedly welcomed by the head of the Paloma Police Department, "Chief Berrigan" (Eddie Albert) who explains that he is in desperate need of a police detective that he can trust. Not long afterward, however, Lieutenant Sneed decides to visit the home of Victor Manso and accepts some money from him for his cooperation along the way. In short, the good lieutenant is on the take. But what Victor Manso doesn't realize is that apparently Lt. Sneed isn't loyal to anyone but himself--and it's going to eventually cause problems for him later on down the line. Now, rather than reveal any more, I will just say that this was an okay movie which suffered somewhat by a rather convoluted plot which made it difficult to really like any of the characters in this film. Even so, I suppose it had its moments and passed the time fairly well, and I have rated it accordingly. Average.