‘Shaft’ Star Richard Roundtree, Considered First Black Action Movie Hero, Dies at 81 

Actor Richard Roundtree arrives for the US premiere of "What Men Want" at the Regency Village theatre on January 28, 2019 in Westwood, California. (AFP)
Actor Richard Roundtree arrives for the US premiere of "What Men Want" at the Regency Village theatre on January 28, 2019 in Westwood, California. (AFP)
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‘Shaft’ Star Richard Roundtree, Considered First Black Action Movie Hero, Dies at 81 

Actor Richard Roundtree arrives for the US premiere of "What Men Want" at the Regency Village theatre on January 28, 2019 in Westwood, California. (AFP)
Actor Richard Roundtree arrives for the US premiere of "What Men Want" at the Regency Village theatre on January 28, 2019 in Westwood, California. (AFP)

Richard Roundtree, the trailblazing actor who starred as the ultra-smooth private detective in several “Shaft” films beginning in the early 1970s, has died. He was 81.

Roundtree’s longtime manager, Patrick McMinn, said the actor had been diagnosed with pancreatic cancer and died at his home in Los Angeles on Tuesday. He was diagnosed with breast cancer in 1993 and underwent a double mastectomy.

“Richard’s work and career served as a turning point for African American leading men,” McMinn said. “The impact he had on the industry cannot be overstated.”

Roundtree, who was born in New Rochelle, New York, was considered as the first Black action hero and became one of the leading actors in the blaxploitation genre through his New York street smart John Shaft character in the Gordon Parks-directed film in 1971. At age 28, it was Roundtree’s first feature film appearance after starting his career as a model.

Roundtree’s “Shaft” was part of a change in how Black movies were viewed in Hollywood, which failed to consider Black actors – especially for leading roles — in projects at the time. The blaxploitation films were primarily aimed at the African American audiences.

In the film, his character navigated the world of thugs. “What we were doing was a good, old Saturday afternoon shoot ’em up,” Roundtree said in a 2000 interview with The Associated Press.

Isaac Hayes’ “Shaft” theme song — which included the line “You a bad mother— (Shut your mouth)” — helped insinuate the original movie into the pop-cult consciousness. The singer, who died in 2008, said the song was “like the ‘shot heard round the world.” His single won an Academy Award for best song in 1971 and two Grammys the following year.

After the film’s success, Roundtree returned in sequels “Shaft’s Big Score” in 1972 and “Shaft in Africa” in 1973. That same year, he played the savvy detective once again on the CBS television series “Shaft,” which lasted only seven episodes.

Roundtree reprised his role in the 2000 “Shaft” film, a revival that starred Samuel L. Jackson. He appeared as Jackson’s uncle in the big-budget film that was aimed at the general audience. Both appeared again in the same roles in the 2019 film starring Jessie T. Usher.

Jackson called Roundtree the “prototype” and the “best to ever do it” in a social media post.

“SHAFT, as we know it is & will always be his Creation,” he said of Roundtree. “His passing leaves a deep hole not only in my heart, but I’m sure a lotta y’all’s, too.”

Through his 50-plus year career, Roundtree appeared in a number of other notable films including “Earthquake,” “Man Friday” with Peter O’Toole, “Roots,” “Maniac Cop” “Se7en” and “What Men Want” starring Taraji P. Henson. He also made his mark with television roles on “Magnum P.I.,” “The Love Boat,” “Being Mary Jane” and “The Love Boat.”

In 1995, Roundtree received a lifetime achievement award at the MTV Movie & TV awards.



Movie Review: ‘Cuckoo’ Is a Stylish Nightmare, with a Wonderfully Sinister Dan Stevens

 This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)
This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)
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Movie Review: ‘Cuckoo’ Is a Stylish Nightmare, with a Wonderfully Sinister Dan Stevens

 This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)
This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)

Let’s get one thing out of the way first: I did not entirely understand everything that happens in “Cuckoo," a new indie horror in theaters Friday.

This could be more of a me problem than with the storytelling, but there are a lot of strange things happening at this particular Alpine resort. It's run by a bespectacled German hotelier named Herr König, played with an off-kilter menace by Dan Stevens.

Some of the occurrences are underexplained, others underexplored. Herr König seems particularly worried about things that happen after dark, but not so much about guests wandering into the reception and general store in a wobbly stupor and vomit. Are they drunk? Sick? Should someone help them? All we get is: “It happens.” The hospital, too, is eerily empty.

Sonic vibrations often ripple through the land, causing scenes to repeat until reaching a violent crescendo. And no one seems to listen to or care about anything 17-year-old Gretchen (Hunter Schafer) has to say, no matter how banged up she gets. The quick escalation of her injuries, and the widening disinterest of her father, approaches comedy.

Ambiguity can be wonderful for mystery and worldbuilding; It can also be frustrating. And more often than not, detailed explanations just make everything lamer. “Cuckoo” dips into all of the above. Even so, it is undeniably fascinating, original and even occasionally fun, in a very twisted and deranged way in which laughter is your involuntary response to something horrifying. In her captivating lead performance, Schafer really goes through it, both physically and emotionally.

It also features Stevens sporting tiny, rimless glasses with sinisterly scandi-cool monochrome outfits, and a screaming ghoul with Hitchcockian glamour in a hooded trench and white-framed oval sunnies. Rarely is it a bad idea for a horror film to lean into style, and “Cuckoo” fully commits.

“Cuckoo” is the brainchild of German director Tilman Singer, but credit also goes to Singer’s predecessors: The works of David Lynch and Dario Argento among them. Gretchen is a reluctant resident in the idyllic, modern home with her detached father (Martin Csokas), stepmother (Jessica Henwick) and mute half-sister Alma (Mila Lieu). She leaves increasingly desperate messages on her mother’s answering machine in America.

It’s certainly an exaggerated but apt portrait of a new family where the remnants of the old are treated like a nuisance. When Alma starts having seizures during the vibrations, which no one but Gretchen seems to remember or acknowledge, the parents’ attention turns fully to the young girl. They can barely be bothered to care about Gretchen's miraculous survival of a horrifying car wreck; Alma is in the same hospital because of the episodes.

As with many horrors, the big reveals were, for this critic, a little underwhelming — a strained attempt at a unifying theory for this weird place that doesn’t add much ultimately. And yet the emotional connection to Gretchen and her complex relationship with Alma does pay off in unexpected ways.

Also, Stevens deserves special acknowledgement for his contributions to “Cuckoo.” This is a man who could have easily languished in blandly handsome leading man roles and instead is becoming one of our great character actors. He is regularly the best and most memorable part of whatever he’s in just by his sheer commitment to going there, whether it’s his Hawaiian shirt wearing titan veterinarian in “Godzilla x Kong,” his Russian pop star in “Eurovision” or any number of his deranged horror characters. He and Schafer, always a compelling presence, make “Cuckoo” very much worth it. They exist far too comfortably in this dreamy, nightmarish world dreamt up by Singer that is well worth a watch.