It’s involving another should mention his/her disappointment over the music included for the DVD release of Anguish Man (1972), level-headed by the legendary Marvin Gaye. The intention I understand it Gaye wasn’t glad with how the music came out for the movie when originally released succor in the day, and went serve and re-recorded it for the soundtrack album (I got this information from another website) …I’m unsure if this is lawful or not, but it might clarify why the music for the film is different than the precise music on the soundtrack album. Written by John D.F. Dark, who worked on a slew of television series (“The Fugitive”, “Hawaii Five-O”, “Mary Tyler Moore”), along with a film or two, most notably Shaft (1971), and directed by Ivan Dixon, who also worked on a big many television series like The Rockford Files” (1974), “Starsky and Hutch” (1975), and “Wonder Woman” (1976), to name a few, Difficulty Man stars Robert Hooks (Airport ’77, Fast-Walking) . Also appearing is silky voiced actor Paul Winfield (Damnation Alley, Star Trek: The Wrath of Khan, The Terminator), William Smithers (Deathsport), Paula Kelly (Soylent Green, Uptown Saturday Night), blaxploitation outmoded and one time Bond villain Julius Harris (Superfly, Unlit Caesar, Live and Let Die), Bill Henderson (Cornbread, Earl and Me), and Ralph Waite, whom many 1970s television viewers may perceive as patriarch John Walton Sr., from the series “The Waltons”.
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Hooks plays T (Mr. T if you’re harmful), a licensed private investigator (which means he can carry a gun), among other things, who dresses sharply, maintains an office in a pool hall, drives a large, worship car, and whom people turn to when they have no other recourse and need swiftly action. An example of this is seen early on when someone comes to T relating how a baby got injure because of a negligent building owner, and T pays a visit to landlord, played by Gordon Jump (the hapless plot manager from the TV point to “WKRP in Cincinnati”), and lays it on the line. After their small talk, the hospital bills are taken care of, an apology is made, along with a promise to fix the problems with the building…street law in action…anyway, T is approached by two mid-level hustlers, Chalky Ticket (Winfield) and Pete Cockrell (Waite), who hasten various illegal gambling operations, with a dilemma. Seems some masked men are hitting their games, and they want T to score out whom. T’s designate is steep (he seems to have petite adore for the men, but is willing to select a whole lot of their money), but the men agree, as they know he’ll fetch the job done. Turns out the hustlers have dwelling up a somewhat interpret scam, one where they’re going to try and pull a fleet hustle on their main rival Mountainous (Harris), setting up T as the tumble guy which turns out to be one of those things that sounded favorable at the time, but now seems like a really poor plan as T is out to resolve the derive, his design (his blueprint involves some serious beat downs and a whole lot of shooting) .
A strong, proud, African American lead character, who is a private investigator type people turn to when they got nowhere else to go, plays both sides of the law, feared and respected by the criminal element, loved by the ladies, consistently hassled by The Man, dresses racy, plays it frigid, and sees things to the extinguish…if this sounds familiar it is because we saw the same thing a year earlier in the film Shaft (1971) which writer John D.F. Shadowy co-wrote with Ernest Tidyman, the latter being the sincere author of the recent. In essence, Grief Man is Shaft in California, substituting Robert Hooks for Richard Roundtree…not that that’s terrible, but impartial not entirely modern. While Concern Man does explain many of the qualities of movies within the blaxploitation genre at the time, funky music, dated fashions, sleazy characters, a whole lot of violence, etc., it is missing one, well-liked element in that of female nekidness, but that didn’t bother me as it made up for it in action, copious usage of profanity, and a whole lot of attitude. Actually, while watching the movie, I got the impression the absence of nudity may have been deliberate, a conscious, respectful choice by the filmmakers not to mire themselves in the sleazier aspects of the genre, but rather focus on the strengths, those being strong characters, a solid fable, and a superior deal of action. Hooks, not really a regular for these types of films, does very well, providing a tough, brilliant, infinitely frigid no nonsense lead, one who uses his head, but isn’t shocked to mix it up when he has to…I conception one scene particularly gripping when T place up a meeting between Huge, Chalky, and Pete in the pool hall (neutral ground), and Big’s men demonstrate up first to check things out. Big’s main thug, a mountainous man named Preston, seemed fairly antagonistic on arrival, itching for a fight, but T manages to diffuse the set, allowing for both men to set aside face, displaying a detached, cold, quick-witted demeanor as T shows the other the lack of value in their getting into a brawl, which helped elevate Hooks’ character beyond that of what one would normally inquire from a movie like this…I’d credit this to solid writing, but probably more so to Hooks himself, who seemed like a exceptionally valid actor, and one with a strong veil presence. All in all I’ve seen better, more memorable blaxploitation films, but not a lot, as this is definitely above the average, and gracious of owning, especially if you’re a fan of the genre.
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The film, presented in both fullscreen (1.33:1) and widescreen anamorphic (1.85:1), looks attractive, blowing away whatever bootleg or copied from TV version you may occupy (I’m unsure the film has ever seen an official home video release up until now) . The audio, presented in Dolby Digital stereo, comes through strong and determined. There aren’t really any extras except for an unusual theatrical trailer, and a few previews for other films including Man on Fire (2004), The French Connection (1971), and Sugar Hill (1994) .
Cookieman108
This movie may not grab you at first, but it’s definitely a 5 star film for this genre. The confusion about the theme song from a previous review comes from the fact that a different mix of the song was stale in the movie. There is no one else singing over Marvin Gaye, that’s him singing in his lower register. The version released on the soundtrack features his higher register throughout the song. Check out TrueKnowledgeNation.com for more info on this and other films from that era.
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