Plot: What’s it about?
Tommy Gibbs (Fred Williamson) has been sidelined after a vicious attack and gunshot wound, but he’s prepared to return, and with a vengeance. He rose from the gutters once before to attain immense power, so he is certain he can do one more time. He has to plan things in careful form however, as one mistake could cost him his life and the lives of others. With the help of his main chick, Gibbs begins to reform his troupe of street warriors, with a grand plan in mind, one that will send shockwaves through the system. He takes a massive risk when he steals a confidential ledger, but he succeeds, even though he is now a very marked man. This ledger holds the names of all the crooked cops and officials, so of course, those involved want it back and on the double. So now Gibbs is a hunted man and has to make each move with care, but that all changes soon enough. He and his crew decide to lose the defensive and take on the offensive, with an assault on their enemies, both local and in distant places. But when the smoke clears and the clips have been emptied, will Gibbs once again be the top man in the ghetto food chain?
After the events in Black Caesar, it would seem pretty hard to warrant a sequel, but with Hell up in Harlem, that’s just what we have. I don’t think this one works as well as the original, but given the circumstances, it’s more than decent. Fred Williamson (Black Caesar, From Dusk ‘Til Dawn) had a limited amount of time available and as such, the film’s focus is not always on him, but he’s a prominent player, so all is well. Although Hell up in Harlem seems rushed and a tad sloppy at times, it is fun to watch, even though it should have been better. If you’re going to make a sequel though, tie in the original with some strands of the story, not just the lead character’s presence. In truth, there was no need for this sequel because of the climax of Black Caesar, but director Larry Cohen (Original Gangstas, The Stuff) overlooks the plot holes and pushes ahead. As a fan of MGM’s Soul Cinema line, I am pleased to see this one released though, as it might have some flaws, but it is still a more than solid picture, all things considered.
Video: How does it look?
Hell up in Harlem is presented in a 1.85:1 anamorphic widescreen transfer. As expected, some grain and print wear is evident, but given the nature of the production, I think this was unavoidable. These flaws never amount to much and in truth, I think the grain fits in well here, as the film has a gritty visual scheme. The colors are natural in scope, with minimal fades present, while flesh tones are normal and never shift in the least. The contrast is usually strong, but sometimes weakened by the grain, though never too much. As this was a low budget movie from 1973, I have scored it on a slanted scale, as the film has never looked this good on the small screen.
Audio: How does it sound?
This release uses a mono option, so don’t expect much here, although the audio is more than passable. As this was a low budget movie made in haste, the audio is a shade shaky at times, but for what it is, this track is more than solid. The soundtrack is in smooth form, free from distortion and such, while sound effects are limited in scope, but come on, this is a mono track, after all. No issues with dialogue, as vocals are clean and never stumble in the slightest. This disc also includes a French language track, as well as French & Spanish subtitles.
Supplements: What are the extras?
This disc includes the film’s theatrical & teaser trailers, as well as an audio commentary with director Larry Cohen. As per usual, Cohen seems relaxed and unafraid to speak candidly, which ensures this is an informative session. I wish all commentary tracks were like this, as Cohen is open and never fails to speak his mind, which is how it should be.
