SHAFT: THE KIDNAPPING (TV) (1973, USA) ***
Action, Crime, Drama
net. Columbia Broadcasting System (CBS); pr co. MGM Television; d. Alexander Singer; w. Allan Balter. William Read Woodfield ; exec pr. Allan Balter; pr. William Read Woodfield; ass pr. Dann Cahn; ph. Michael Hugo (Metrocolor. 35mm. Spherical. 1.33:1); m. Johnny Pate, theme m. Isaac Hayes; m sup. Harry V Lojewski; ed. George Folsey Jr.; ad. Bill Ross; set d. Richard Friedman; cos. Norman A. Burza, Sylvia Liggett; m/up. Jack Wilson, Billie Jordan; sd. Robert J. Miller, Hal Watkins (Mono); b/cast. 11 December 1973 (USA); BBFC cert: PG; r/t. 74m.
cast: Richard Roundtree (John Shaft), Eddie Barth (Lt. Al Rossi), Paul Burke (Elliot Williamson), Karen Carlson (Nancy Williamson), Nicolas Beauvy (Matthew Potter), Greg Mullavey (Beck), Timothy Scott (Hayden), Victor Brandt (Leo), Frank Marth (Sheriff Bradley), Philip Kenneally (Deputy Walter), Erik Holland (Deputy Daley), Frank Whiteman (Deputy Milton), Stephen Coit (Mr. Tolliver), Jayne Kennedy (Debbie), Richard Stahl (Potter), Joe Petrullo (Cab Driver), Robert Casper (Bank customer), Rudy Doucette (Police Officer (uncredited)).
A banker’s wife is kidnapped, and the kidnappers insist that Shaft deliver the ransom. But complications arise when, on the way to the drop point, Shaft is stopped by an overzealous deputy who won’t listen to a word he says. This was the first shot episode (broadcast fourth) of the Shaft TV Movie series and it is little more than standard TV fare. However, its individual elements lift it above other more modest entries in the TV series and it is a pretty good introduction for TV audiences to a more family friendly John Shaft. TV at the time was not ready for the Shaft seen on the big screen, so compromises were made with the character’s abrasiveness, salty language, violent approach to detection and his wooing of the opposite sex. These elements were dialled down. To compensate the producers extracted footage from the chase finale in SHAFT’S BIG SCORE! and repurposed it here to introduce Shaft to a TV audience. This provides a dynamic opening , which a TV budget could not match for the rest of the story. Shaft’s shootout with the bad guys at the story’s conclusion is low-scale compared to the imported opening. Nevertheless, Roundtree shows glimpses of his big screen persona and has an athletic presence throughout.