
The film focuses on the war of two gangs in 1930s Harlem for the control of illegal gaming - one headed by black strategic godfather Bumpy Johnson and another by white ruthless hothead Dutch Schultz. Negotiations proposed by white syndicate boss Lucky Luciano never get under way, blood flows and Johnson gets jailed. When Johnson is paroled, he gets the work of enforcer for mighty Stephanie "The Queen" St. Clair. She is also jailed for racketeering and when she leaves she make... (Full plot summary below)
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The film focuses on the war of two gangs in 1930s Harlem for the control of illegal gaming - one headed by black strategic godfather Bumpy Johnson and another by white ruthless hothead Dutch Schultz. Negotiations proposed by white syndicate boss Lucky Luciano never get under way, blood flows and Johnson gets jailed. When Johnson is paroled, he gets the work of enforcer for mighty Stephanie "The Queen" St. Clair. She is also jailed for racketeering and when she leaves she makes him promise "no violence".
Leave your thoughts about Hoodlum.
| Chicago ReaderJonathan RosenbaumDuke is a superb director of actors, and, as in "Deep Cover", Fishburne manages to suggest a lot with a deft economy of means. |
| ReelViewsJames BerardinelliWhile Chris Brancato's script doesn't reveal anything new or surprising (students of history and fans of "The Cotton Club" already know how this film ends), it's a competent piece of storytelling that incorporates elements of human interest with the threat of escalating violence. |
| Chicago Sun-TimesRoger EbertDuke and his screenwriter, Chris Brancato, don't make Hoodlum into a violent action film, though it has its bloody shoot-outs, but into more of a character study. |
| San Francisco ExaminerBarbara ShulgasserIt is familiarly old-fashioned, complete with montages of newspaper clippings fluttering past and calendar days slipping by. The sets, costumes, old cars and general atmosphere all beautifully recall moviemaking of a bygone era. And for that, hats off to Duke. |
| Entertainment WeeklyOwen GleibermanThe director, Bill Duke ("A Rage in Harlem"), stages all of this with proficient confidence, yet he never truly summons the operatic power of the genre -- the pulp tragedy of ambition built on (and drowned in) blood. |
| USA TodaySusan WloszczynaToo long by about 20 minutes, the film drags a bit, but the acting--fine throughout--carries the whole thing. |
| Flipside Movie EmporiumRob VauxIt contains nothing of any lingering interest. On the other hand, Laurence Fishburne may be the only man on the planet who makes that mustache look good. |
| VarietyLeonard KladyDirector Bill Duke renders the period saga with passion, but lacks the sort of fluid, organic style the material requires; the film falls short of its aim for mythic proportion. Still, there's a vibrancy that's engrossing, if uneven. |
| Washington PostStephen HunterYou can feel Hoodlum hungering to be bigger than it possibly can be. It wants to be "The Godfather" of African Americans, a vast tale of crime and heroism and nerve and ambition. But it tries too hard and ends up feeling spotty rather than deep. [27Aug1997 Pg D.01] |
| The Globe and Mail (Toronto)Liam LaceyDuke rarely operates at more than a TV movie-of-the-week level of originality, but Hoodlum is still an easy movie to enjoy. |