TROUBLE MAN (1972)

Title: TROUBLE MAN

Year of Release: 1972

Director: Ivan Dixon

Genre: Action, Drama

Synopsis: A private investigator is framed for the killing of an underworld figure, and fights to prove his innocence.

Within a film history context: The early to mid-1970s saw a great number of films, coined as Blaxploitation movies, with African-American protagonists in central roles, often supported by Caucasian actors in smaller parts. These films have continued to be made to the present day. Up until the release of TROUBLE MAN in 1972, there were many notable films made which explored the Blaxploitation theme in vastly different ways. One of the first with an African-American actor in the lead role was Robert Downey Sr.'s PUTNEY SWOPE (1969). Arnold Johnson was the main character, the eponymous Putney Swope, being an advertising executive, in a sharply satirical film that was shot in stark black and white. COTTON COMES TO HARLEM (1970), directed by Ossie Davis, was another influential film. With its colorful characters and presentation, a sequel was produced in 1972, COME BACK CHARLESTON BLUE that was not as warmly received as the original. COTTON COMES TO HARLEM's humor, and spurts of violence, became a feature of other films in the Blaxploitation genre. 

Paul Bogart's HALLS OF ANGER (1970) was utterly different in style and tone from other movies in the genre. Centering around the arrival of white students in a predominately black school, igniting racial tensions, and the return of a black teacher there. It was a thoughtful film that offered no easy answers to race relations, but opened the door to further discourse about these. More exploitative was SOUL SOLDIER (1970), directed by John Cardos. Set during the Civil War, it was the story of a black man in a regiment managed by a white man that made money, and whose cast included actors such as Barbara Hale and Cesar Romero. Topical in nature was Ralph Nelson's TICK, TICK, TICK (1970). With Jim Brown as the black sheriff of a small town simmering with racial tensions, it was a film that traded less in violence than others in the genre, and with more of a solid storyline than most. A comical take on race relations was on view in WATERMELON MAN (1970), directed by Melvin Van Peebles. With a mainly black cast, it was a fish out of water story with a white insurance man finding himself to be a black man after waking up one morning. It is remembered mainly for its comic atmosphere, witty asides, and the strength of the performances. 1971 brought many more films that explored the Blaxploitation angle in various ways.

One of the rarest of the films was Wendell Franklin's THE BUS IS COMING (1971). A young black Vietnam veteran returns home and discovers his brother was murdered by racist police officers, with revenge on the soldier's mind. A subdued, serious examination of racism in a small town, it was a well-made, convincing story that eschewed violence and sex, and made up for this in sheer story. Unlike other movies, HONKY (1971), directed by William A. Graham, had romance on its mind. The story of an interracial love story that involved narcotics, it was a change of pace for the Blaxploitation genre. The arrival on screen in 1971 of one of the most influential films in the genre stood out - Gordon Parks' SHAFT. The story of a black detective and the special case for which he was hired, it made a star of its lead actor Richard Roundtree, and its fashionable blend of violence, sex and salty language spawned several sequels and a television series. Another breakout film in the genre also appeared in cinemas in 1971 - SWEET SWEETBACK'S BAADASSSSS SONG, directed by Melvin Van Peebles. Notorious for its sex, nudity, language and violence, it was a film that pushed many buttons in the day, and was 'X' rated in its initial release. A groundbreaking film in 1971, it is still powerful today, time not diminishing its potency. 1972 was also another big year for Blaxploitation movies, with many distinctive productions.

Barry Shear's ACROSS 110TH STREET (1972) focused on crime in Harlem, and starred Yaphet Kotto, with Anthony Quinn and Anthony Franciosa. BLACK GIRL (1972), directed by Ossie Davis, was entirely different in its intentions. The story of black women in 1970s America, it was a character-driven, thoughful drama without the violence which marked many of the other films in the genre. Robert Hartford-Davis' BLACK GUNN (1972) was another crime entry made by Columbia Pictures, and starring iconic black actor Jim Brown. More outrageous was BLACULA (1972), directed by William Crain. The retelling of Dracula in an African-American context, it was one of American International Pictures' biggest hits. More relaxed was Sidney Poitier's BUCK AND THE PREACHER (1972), a film in which he both directed and starred. A western with a largely black cast, it was set in 1860s Kansas, and another film funded by a major studio, Columbia Pictures. COOL BREEZE (1972), directed by Barry Pollack, was one of MGM's films in the genre. An earthy but incoherent movie, it focused on a bank robbery that has consequences for its characters, with crime its top agenda. Bruce D. Clark's HAMMER (1972) showcased Fred Williamson as a boxer who becomes embroiled with the Mafia, and whose affiliation with them ruptures his love life. MELINDA (1972), directed by Hugh A. Robertson, was another MGM movie. Combining action, violence and romance, it was about a disc jockey who becomes involved with the eponymous Melinda, seeking to clear his name when she ends up dead in his apartment. This is just a small sampling of films made in the Blaxploitation genre which reflect a vast variety of themes and content. TROUBLE MAN resembled many of the films in the list to a degree, but diverted from these in other ways.

It is most similar to SHAFT, BLACK GUNN, MELINDA and HAMMER in the showcasing of a charismatic star actor, and a subsequent revenge theme which is explored by the narrative. The four films mentioned here, and TROUBLE MAN, have their protagonist on a mission to bring criminals to justice for wrongs either committed to them, or other people. It shares the violent content that marked many of the Blaxploitation films, but it is here that TROUBLE MAN moves away from these movies. Unlike the other films, TROUBLE MAN has a well-executed story structure that is not reliant on bloody death scenes to make its points. Examples such as MELINDA and COOL BREEZE reveled in scenes of carnage and mayhem that did not add anything to the final product. While TROUBLE MAN has some violent passages, they do not occur with frequency, which sometimes makes a film wear out its welcome to viewers. The violent content is something that is logical for the main character, his plight, and reflects upon what has taken place in the film. While these scenes are carefully set up, the camera does not linger for too long on the carnage, something which films such as MELINDA did to a greater degree. The death scenes are spectacular, well-motivated, and shot with visual flair. This approach, though, is another example of TROUBLE MAN's difference to the other films in the genre.

TROUBLE MAN could be described as one of the most glamorous of the Blaxploitation films. Beautifully shot, with pleasant sets and outdoor locations, and attractive players, these features set it apart from the other movies. There is no grime, no overtly unkempt characters, and no scenes of urban decay that marked other movies such as COOL BREEZE and SHAFT. Mr T has an expensive wardrobe of beautiful suits, lives in an upscale apartment, and drives a great car - the film is a feast for the eyes in a visual respect. While this might seem superficial, it adds a sense of panache to the film that works. The number of Mr T's costume changes would make even Alexis Carrington from television show Dynasty green with envy at their frequency in the movie. In addition, Mr T is never shown as bloodied or dirty even after his most difficult moments, which may not be entirely realistic, but can be explained in another way. 

TROUBLE MAN, while in the Blaxploitation genre, has much in common with classic Hollywood film. If its language was watered down, likewise with the violence, it could have easily been a product of 1930s or 1940s cinema, possibly starring Robert Mitchum or Dick Powell. Another refreshing quality about the film is its treatment of sex and nudity. The sexuality is extremely discreet, with no nudity in TROUBLE MAN unlike the messy, superfluous sexuality of COOL BREEZE, MELINDA and others. While there is the depiction of Mr T in a relationship, his roving eye and virility is explored in a subtle manner that gives the film a knowing subtext, while also making the spectator smile. TROUBLE MAN, also, does not offer objectification of the male body as was the case in SHAFT. Mr T is more of a fashion model than Shaft, whose body was much on display in that movie. There is also another interesting shift in TROUBLE MAN from the other movies, such as SWEET SWEETBACK'S BAADASSSSS SONG. While that film was about the phallus and sexual prowess, in TROUBLE MAN, Mr T's intellectual resourcefulness is what the movie explores. How he manages to escape one scrape after another is one of the suspenseful qualities of this film. For these reasons, TROUBLE MAN is a polished motion picture that compels and charms in equal measure, and is one of the best Blaxploitation, and crime films ever shown to audiences.

Overview: Ivan Dixon was a director mainly active in television who made two feature films in his career. His second movie, THE SPOOK WHO SAT BY THE DOOR (1973) was an action-crime story about how a black man undergoes training in the CIA, and attempts to forward his idea of an American Revolution. As Ivan Dixon's first film, TROUBLE MAN, Mr Dixon has fashioned a well-crafted, stylish movie that keeps the interest from beginning to end, never faltering. As with THE SPOOK WHO SAT BY THE DOOR, TROUBLE MAN is a film that tackles action and crime themes, and, also has an excellent lead actor in the main role, with a great supporting cast. What sets TROUBLE MAN apart from other movies is its story, and its delivery on screen.

The screenplay by John D.F. Black is an elaborately constructed narrative with intricately detailed events in which each scene has a bearing on the next. It hangs together exceptionally well, the sequences all well-thought out and executed. The dialogue exchanges between the characters heighten the interest, placing its characters within events, and making one care about whatever the story outcome might be. Unlike many films in the genre, which feature violence as the raison d'etre without actually placing it into a proper context, in TROUBLE MAN it is the culmination of events rather than presenting violence just for its own sake. The action sequences are all well-directed by Mr Dixon and exciting to watch, and never overdone. TROUBLE MAN is more of a thinking persons' film than other genre examples such as COOL BREEZE, with its free floating violence and sexual content. It is a tightly constructed film that rewards viewers for their patience at the end with a satisfying, appropriate conclusion. One of the best of the Blaxploitation movies, TROUBLE MAN is a happy addition to the genre, and a film that makes one lament the fact Ivan Dixon did not direct any other feature films in his career.

Acting: Robert Hooks is perfect as Mr T, his confident, self-possessed aura making Mr T not only indefatigable but thoroughly watchable. A likable, astute performer who is comfortable on screen as Mr T, his cerebral presence ensures the film of its success. William Smithers is authoritative as Captain Joe Marx, the no-nonsense police chief suspecting Mr T of criminal activity, using his eyes effectively to convey suspicion, and disdain, in the movie. Julius Harris, as crime kingpin Big, is another great actor. His baritone voice, the way he smokes a cigar and stares down his opponents, all these qualities make him an absorbing villain who warranted much more screen time than he had. Paula Kelly, as Mr T's girlfriend Cleo, is a charming actress who, as with Mr Harris, deserved further time in front of the camera, as it would have been interesting to see more of her in the movie.

Soundtrack: Marvin Gaye's jazzy score and tunes excellently accentuate what is occurring on screen, providing TROUBLE MAN with a crisp and edgy feel.

Mise-en-scene: TROUBLE MAN is beautifully shot, the Deluxe film stock clear without ever overemphasizing colours. Both indoor, and exterior locations are well-chosen, and easy on the eyes. Costuming is also of a very high standard, with Mr Hooks and the other players well-outfittted in beautiful, sartorially appropriate garments which exude quality and workmanship.

Award-worthy performances in my opinion: Robert Hooks, William Smithers, Julius Harris.

Suitability for young viewers: No. Frequent coarse language, adult themes, high-level violence.

Overall Grade: B

Link: IMDB Page

Trailer