Gordon Parks - Film Career

Film Career

In the 1950s, Parks worked as a consultant on various Hollywood productions. He later directed a series of documentaries on black ghetto life that were commissioned by National Educational Television.

With his film adaptation of his autobiographical novel, The Learning Tree in 1969, Parks became Hollywood's first major black director. It was filmed in his home town of Fort Scott, Kansas. Parks also wrote the screenplay and composed the musical score for the film.

Shaft, a 1971 detective film by Parks starring Richard Roundtree, became a major hit that spawned a series of films that would be labeled as, blaxploitation. Parks' feel for settings was confirmed by Shaft, with its portrayal of the super-cool leather-clad, black private detective hired to find the kidnapped daughter of a Harlem racketeer.

Parks also directed the 1972 sequel, Shaft's Big Score, in which the protagonist finds himself caught in the middle of rival gangs of racketeers. Parks's other directorial credits include The Super Cops (1974) and Leadbelly (1976), a biopic of the blues musician Huddie Ledbetter.

In the 1980s, he made several films for television and composed the music and a libretto for Martin, a ballet tribute to Martin Luther King, Jr., which premiered in Washington, D.C. during 1989. It was screened on national television on King's birthday in 1990.

In 2000, as a homage, he had a cameo appearance in the Shaft sequel that starred Samuel L. Jackson in the title role as the namesake and nephew of the original John Shaft. In the cameo scene, Parks was sitting playing chess when Jackson greeted him as, "Mr. P.".

Read more about this topic:  Gordon Parks

Famous quotes containing the words film and/or career:

    His education lay like a film of white oil on the black lake of his barbarian consciousness. For this reason, the things he said were hardly interesting at all. Only what he was.
    —D.H. (David Herbert)

    The 19-year-old Diana ... decided to make her career that of wife. Today that can be a very, very iffy line of work.... And what sometimes happens to the women who pursue it is the best argument imaginable for teaching girls that they should always be able to take care of themselves.
    Anna Quindlen (b. 1952)