Gordon's War (1973)

Admirable film.

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

By the time the dramatic fireworks start popping off, each one feels earned.

I'm certainly not an expert when it comes to Blaxploitation cinema, but I've seen enough films by now to know that I root for the underdog titles rather than the popular blockbusters. Flamboyant and famous genre classics like "Shaft", "Foxy Brown" or "Black Caesar" may be entertaining, but I prefer the raw and desolate atmosphere of unsung gems like "Across 110th Street", "Ganja and Hess", "Fight for your Life" or "The Spook who sat by the Door". Ossie Davis' "Gordon's War" can definitely also be added to that shortlist from now on as well! This film doesn't rely on the groovy charisma of one single lead- player (although Paul Winfield is truly fantastic) but instead it portrays a harsh and saddening image of life in the decaying big city ghettos. Mostly thanks to the authentic Harlem filming locations, in combination with a straightforward no-nonsense script and a handful of marvelous action sequences, "Gordon's War" is a rewarding Blaxploitation gem worth tracking down. Decorated war hero Gordon Hudson returns from Vietnam only to find out that his beloved wife died of an overdose and that a whole generation of Harlem youngsters is falling victim to lousy heroine. You know the revenge/vigilante routine from here onward: Gordon assembles his army buddies and go back to war, only this time it's a personal battle against the drug pushers on the streets and crime lords who provide them. Apart from being a fast- paced and competently made thriller, "Gordon's War" is also memorable for featuring one of the most inventive safe raids I've ever seen and the bizarre supporting role of Grace Jones in her first screen appearance. The abrupt finale is a bit of a letdown, though, and the film could have done without the clichéd "oh-we-used-to-be-so-happy" flashbacks.

Take-charge Green Beret Gordon Hudson (a bang-up performance by the always reliable Paul Winfield) returns to Harlem after serving a four year tour of duty in Vietnam. Gordon discovers that the neighborhood has been overrun with drugs, prostitution, and other kinds of organized crime. Gordon rounds up three 'Nam vet buddies so they can wipe out the no-count hoodlums who have corrupted the city. Director Ossie Davis, working from a tight and hard-hitting script by Ed Spielman and Howard Friedlander, relates the gripping story at a snappy pace, ably creates and maintains an appropriately harsh and gritty tone, and stages the exciting action-packed climax with real skill and flair. Winfield's strong and commanding presence effortlessly carries the picture; he receives sturdy support from Carl Lee as the amiable Bee Bishop, Tony King as the easygoing Roy Green, and David Downing as the hip Otis Russell. Moreover, there's a neat array of hateful villains: Gilbert Lewis as ruthless kingpin Spanish Henry, Carl Gordon as the slimy and sniveling Luther the Pimp, and Nathan C. Heard as vicious dope pusher Big Pink. Popping up in nifty bits are singer Grace Jones as drug currier Mary and an uncredited Charles McGregor (Fat Freddie in "Superfly") as dope peddler Jim. The outbursts of brutal violence pack a ferocious punch while the grungy Harlem locations add a certain raw authenticity. Victor J. Kemper's slick cinematography makes cool occasional use of split screen and freeze frames. The funky score by Al Elias and Angela Badalamenti hits the get-down groovy-thrilling spot. An excellent urban action winner.

Those looking for classic blaxploitation will find it here: pimps and rug dealers in fancy furs, shooting galleries, naked chicks packaging heroin, black men and white women, and the mafia controlling it all from the shadows.Paul Winfield had received an Oscar nomination for Sounder the same year as he made this film, and he was to make one of my personal favorites, Conrack, the next year, so this was probably the peak of his acting career.He is a Vietnam vet who comes home to tragedy and vows to do something. He gathers some friends and starts a private war against the drug dealers. It was an interesting film with many familiar faces in the blaxploitation genre.Despite the weak ending, it was a good example of a positive blaxploitation film.

This is by no means another cookie-cutter 70's Black crime drama: Paul W. and his band of Vietnam War Vets have come back to Harlem to try to eradicate the pimps and pushers who are sowing the seeds of devastation in their community. What is significant to me is the well orchestrated and articulated courses of action that they employ to achieve their goals. Gordon (Paul W.), the leader, demands discipline and dedication from his fellow Vet brothers to carry out the difficult tasks at hand and they in turn fulfill those demands by utilizing their own special skill sets in their own individual fashion. Note the technical skills used to set up command headquarters liaison and communication and also the street skills used in flushing out the dope den by "fakin' the funk" to simulate rat poison dope cutting.The film moves along at a brisk pace, by not overindulging in extreme doses of gratuitous violence and wasted motion. The progression of events is shown in a logical and entertaining fashion, thanks to the directorial skills of Ossie Davis and by injecting "New Birth" cuts into the soundtrack.Even though this is purportedly a Black film set in Harlem, you don't see any extreme cases of race badgering and "Honkey" this and that name calling. These brothers depicted here have returned to put out any and all hoodlums involved in the Harlem crime scene, whether it's Spanish Harry and his boys in the 'hood or the fat cat suppliers up the ladder in downtown Manhattan. To Gordon and his men, you mess around, you lay around! Even though this film is now 35 years old, the principles are still as applicable to today's problems as they were to the problems back in the day.