Much like any art form, cinema is usually crafted as a response to the social and cultural milieux in which a particular artist exists, which means that we usually find every film contains some degree of commentary, even if only in the most subtle cues. We usually find that crime films in particular contain the most widespread cultural discourse, since it is often these films that say the most about a specific population, whether it be their history or overall values, since nothing is quite as revealing about humanity than those who, whether purposefully or through accidental means, subvert the conventions of a particular social system. This overly didactic explanation is the root of the massive success of the genre commonly referred to as blaxploitation, a vitally important moment in the history of cinema, precisely for how it served as the platform on which a number of gifted artists from previously marginalized groups were able to find their voice on either side of the camera, having the chance to play roles that were more than just limited, one-dimensional supporting parts steeped heavily in harmful stereotypes. Gilbert Moses was a steadfast advocate who had years of experience working in various sections of the entertainment industry, particularly promoting works that were centred around civil rights activism in some form or another, which he viewed as the primary responsibility of directors in his position. One of his most acclaimed films that is still mostly celebrated to the present day is Willie Dynamite, a wickedly entertaining and genuinely captivating crime drama focusing on the trials and tribulations of a New York City pimp who finds himself caught in the crossfire between a malicious gang of fellow criminals on one side, and the fervent efforts of an ambitious young lawyer who insists on eradicating the violence asserted on sex workers in the city, which plunges the protagonist into an existential crisis that ultimately has a violent and tragic outcome. Captivating and disquieting in equal measure, Willie Dynamite is one of the better blaxploitation films of its era, both for its narrative approach and the approach the director takes to bringing this story to life in a vivid and unforgettable manner.

From its first moments, where we are plunged into the sordid and seedy underbelly of New York City in the 1970s, Willie Dynamite looks and feels like everything we would expect from a solid, well-crafted blaxploitation thriller. It starts with the theme song (one of the mainstays of the genre, and often the most memorable aspects of many of these films, for good reason), here performed by the exceptional Martha Reeves, a legendary musical icon who delivers a dynamic vocal performance that sets the tone for the film. This is followed by a bold and ambitious crime drama that is as visually stunning as it is narratively profound. Moses knew exactly how to construct a memorable film, focusing on the design as much as he does the underlying narrative. It is in this approach that we find the film following many of the traditional tropes of the genre, particularly in how stylish and smooth it is – the protagonist is defined by his lavish, over-the-top fashion (Bernard Johnson’s work in designing these costumes is remarkable, with this film contains some of the most audacious and unforgettable constructions of the decade – but considering he worked extensively in the genre, this was to be expected), which is a very easy way for the director to immediately convey exactly what this man represents without expending too much time and energy on exposition. The direction itself is smooth and stylish on its own – Moses had a terrific eye for detail, and the film moves at a rapid pace, never dwelling too long on a specific point and instead focusing on delivering a story that is concise and meaningful, while also being wildly entertaining. The appeal of the blaxploitation genre was that they are very simple and straightforward, filled with memorable designs and a fast-pace that prevents any kind of boredom from developing amongst the audience, who will likely be enraptured in the daring, offbeat sense of style and direction that propels this film forward and makes it so incredibly compelling.

As tempting as it may be to reduce it just a very entertaining, stylish crime film, Willie Dynamite is a much more engaging film when we start to pay attention to the subtle details, the small narrative cues contained in the quieter moments, since these contain multitudes of meaning and help add layers of complexity to a film that could have been overly simplistic without the right approach. There’s an argument to be made that Moses, a filmmaker who had a firm grasp on the collective cultural pulse, was intentionally crafting this film in the image of the off-the-wall blaxploitation productions that were popular at the time as a kind of socio-cultural Trojan horse, an opportunity t take advantage of a popular genre that would invite viewers in under the assumption that it would be wildly entertaining, and then infusing it with layers of deeper meaning, pointing towards the social message embedded right at the heart of the story. The viewer never feels betrayed by the realization that there is much more to Willie Dynamite than initially meets the eye, since it is objectively a very entertaining film, it is simply accompanied by broader cultural commentary that is a welcome addition to the genre, since it indicates that there was some kind of reasoning to telling this story, and that it wasn’t simply an attempt to glorify living a life of excess simply for the sake of earning status within the industry. This film doesn’t glamourise living a life of crime, and instead actually does the inverse, showing that the higher one tries to climb on the social ladder, the more harrowing their eventual descent will be, and that pride certainly does some before the fall, as evident in the harsh decline the anti-hero of this film begins to experience as a result of his attempts to live his life in the fast lane, not paying too much attention to the people who become victims of his brutality and lack of restraint. The film is a dedicated piece of activism designed to explore the experiences of the African-American community at a time in which they were afforded more rights, but still forced to live on the margins, and whether showing the perils of gang warfare or the haunting reality of many women forced into sex work as the only way to earn a meager living, the film has a powerful technique in how it draws our attention to the underlying issues.

However, the more challenging nature of the narrative does not immediately disqualify Willie Dynamite from being a wickedly entertaining work, since we find that several elements grab our attention and keep us invested. The design and direction have already been accounted for, but it’s the performances that act as the connective tissue between the concept and the execution, since the true intentions of the film can only manifest when delivered by actors committed to the material. The titular character is portrayed by Roscoe Orman, another fascinating figure in the artistic collective associated with the civil rights movement. Playing a pimp who disguises his conscience behind layers of abusive rhetoric and willful violence, he creates a truly fascinating character that anchors the film and acts as its primary focus, even when his morality is somewhat more ambiguous. Despite looking at the darker side of society, Willie Dynamite had to feature a protagonist who had some semblance of a soul, albeit not to the extent where we feel pity or any kind of compassion for him. He’s a sycophantic, power-hungry young man who will resort to violence if he genuinely believes that it will put him ahead of his rivals, which ultimately leads to his downfall. His performance is sharply contrasted by the one given by Diana Sands in one of her final film performances before her passing later that year. As one of the most compelling performers of her generation, Sands is always a welcome presence, and her performance in Willie Dynamite is incredible. Orman may play the titular anti-hero, but it’s Sands who is the beating heart of the film, the person wholeheartedly committed to the cause at the centre of the film. A range of memorable supporting parts from several different character actors shades in the nuances of the film, which becomes a masterful and poignant deconstruction of the dominant mentalities that existed at the time in which the film was made, giving it a sense of authenticity that drives the narrative and makes it incredibly rich and effective.

A polished, compelling thriller that is unquestionably one of the best entries into the blaxploitation genre, Willie Dynamite is a terrific film, and proof that they simply do not make films like this anymore, which is not an exaggeration or rose-tinted hyperbole, but rather an assessment on the fact that these films represent a bygone era in the history of cinema. Focusing on the gnarly, gritty underbelly of the 1970s, a period where the country was undergoing immense change in terms of both politics and social structure, blaxploitation was more than just mindless entertainment, but rather the opportunity to give marginalized actors a voice and a place at the cinematic table, which they had only recently started to gain as a result of having their work seen and experienced. As daring as it is well-crafted, and dedicated to conveying a very particular message, Willie Dynamite represents the best the genre has to offer, and has been appropriately cited as one of the better blaxploitation films of its era, and one that continues to be quite influential. The message at the heart of the film is essentially the element that keeps it afloat, and we find that while it may not be the most vital vision and its tendency towards taking a few artistic liberties is indeed difficult to overlook, Willie Dynamite is still a brilliantly-crafted, meaningful film in which Moses asserts his unique approach and tells a story that serves many different purposes, primarily amongst them being the underlying social and cultural commentary that carries a lot of weight, which is coupled with a genuine sense of offbeat entertainment which all ultimately comes to form the foundation of a wickedly entertaining and profoundly compelling crime drama that is as socially-cohesive as it is deeply thought-provoking.