Crude in presentation, Black Caesar shows how a made man can turn on his friends for his own gain, yet still appear the coolest cat on the block. With wide eyes, a big grin and exuberant personality, Fred Williamson made me forget how rough around the edges this film can be. He gifts Larry Cohen's picture with its greatest asset: character. Dialogue and plot might prove secondary to Williamson's star making turn.

When I mentioned how crude Black Caesar was, it's a fixture which flares like a broken lightbulb. During the opening scene, Tommy Gibbs (here played by Omer Jeffrey, later by Fred Williamson) shines shoes for a living. He's able to coax a less than willing customer but there's more behind this interaction. Little does the man know a shooter has chosen this spot to make his killing. What does Tommy do? Drop his polish and run? No, he maintains an iron hold on the poor guy's leg so he cannot run. Okay, so it's not exactly The Godfather. In fact, I'll take Fredo (John Cazale) fumbling with the gun over this episode any day.

Meanwhile, a welcome change in the air emerges through the voice and music of James Brown. The latter adds passion even when this might otherwise intrude. Elsewhere, Cohen comes across as a preying mantis. He shuns traditional coverage for a wild, almost documentary style. Chaotic movements keep us off balanced. Thus, images tumble and rumble against one another. Meet the avant garde as interpreted by another mad director. Admittedly, Cohen captures moments ad hoc and without permits. Once or twice, real people not extras can be seen smiling at the camera. 

It's a little farcical and overwrought, especially when the drama moves away from the decadent into a fantasy scenario. Here Cohen misses the mark and a point long in the making becomes tedious.

While I did not enjoy Black Caesar, I could understand Williamson's appeal. He's believable as someone who started out on the bottom rung, then paid his dues and became the ultimate opportunist. I believe both Shaft and Al Capone would approve.

A poem to close:

Out of the cosmic freezer

Stepped the one and only Black Caesar.

From the streets he grew

To build an empire anew.

Many wild and wacky camera angles

An intricate web the director disentangles.

Type casting binds a player in tar

Yet Fred Williamson has the integrity of a star.

He overcomes the obvious flaws

Making the most of quick draws.

Black Caesar can seem defective

Yet immediacy proves the corrective.

(Released by American International Pictures and rated "R" by MPAA.)