User Reviews

Snap-brim fedoras, vintage autos, blazing Tommy guns, corrupt public officials and greedy mobsters battling it out over turf rights recur throughout director Bill Duke's violent, 1930s' racketeering epic "Hoodlum," a pictorially authentic actioneer that evokes memories of the classic Robert Stack television series "The Untouchables." Although "Hoodlum" boasts a top-drawer cast, including Laurence Fishburne, Vanessa Williams, Tim Roth, and Andy Garcia, this lavishly mounted but uneven gangster saga suffers from its rambling length, garrulous script and a shortage of shoot-outs. As the first major film to headline the crimes of Harlem's infamous Black Godfather Ellsworth 'Bumpy' Johnson, this production offers a novel departure for audiences that are weary of superheroes, female warriors and hard-bitten cops who have were crowding the big-screen when "Hoodlum" appeared in 1997.

The Chris Brancato screenplay introduces Bumpy in 1934 as he exits Sing Sing Prison. Duke and Brancato exert great pains to differentiate Bumpy from the typical African-American mobster. He peruses books, plays chess, and pens poetry. As literate as Bumpy is, he can pull a trigger or wield a knife without a pang of remorse when somebody threatens a person who he loves. Like "The Godfather II" and "Once Upon A Time in America," "Hoodlum" charts the rise of the Godfather of Harlem in a ruthless game of survival that claims his best friend Illinois Gordon (Chi McBride of "I, Robot") and leaves Bumpy forever altered by the gory experience. Ostensibly, you won't see anything in "Hoodlum" that you haven't seen in dozens of other crime films. "Hoodlum" features notorious real-life racketeers such as Dutch Schultz (Tim Roth of "Pulp Fiction") and Lucky Luciano (Andy Garcia of "Godfather III") as well as corrupt special prosecutor Thomas Dewey (William Atherton of "The Sugarland Express). When Bumpy arrives in Harlem, he watches a numbers runner working for Madam Stephanie St. Clair (Cicely Tyson) who is the so-called 'Queen of the Numbers.' The Dutchman craves to absorb the territory that the Madam has struggled for a decade to build into the number one home-grown Harlem business. Bumpy vows to prevent any takeover by the Irish mob.

Meanwhile, the boorish, grubby, low-life Schultz refuses to appease Lucky or Bumpy. Along the way, Bumpy falls in love with righteous Francine (Vanessa Williams) who wants him to find respectable work. Bumpy refuses to stoop to menial employment. When Dutch cannot kill the Madam, he bribes a judge to send her to the pen. Bumpy supervises the Madam's empire at her request during her absence. Bumpy's bloodthirsty methods clash with her live-and-let-live notions. Eventually, Luciano and Bumpy strike a deal, and Dutch finds himself out in the cold. Suddenly, gangster gunfire chops down a young, innocent numbers runner. Now, Bumpy's cronies think that he has gone too far. Francine bails out on him more out of the formulaic dictates of the story than for any motivated reason. So do the filmmakers. The second half of the movie shows Bumpy losing favor with everybody.

The film's publicity notes claim that "Hoodlum" is complete fiction, but historical characters populate the story. Of course, movies rarely recreate history with any fidelity. History is more chaotic than dramatic, so filmmakers recast it to fit their dramatic formulas. One way is by cutting the number of characters. Refusing to portray these events as they actually occurred, Duke and Brancato blow a fantastic opportunity to exploit their melodramatic potential. Duke, whose directorial credits include "Deep Cover" and "A Rage in Harlem," wrestles with the obvious lapses in Brancato's script. The length of "Hoodlum" may have been cut by the studio to squeeze in more showings in a single evening. The action grows and takes on an episodic quality when Bumpy becomes callous. After the first half, the film's momentum bogs down, and "Hoodlum" loses its air of fun. The time has come for the characters to pay the piper.

The filmmakers embrace a curious morality. In most gangster movies, the hoodlum hero must die. Bumpy gets off easy, as does Luciano and only Dutch antes up with his life. Duke and Brancato allow their criminals greater leniency. The gangsters are less cancerous than the defenders of justice. Consequently, "Hoodlum" concludes on an anti-climax. Moreover, the filmmakers neglect to post an epilogue about Bumpy's outcome. For the record, the gangster who hires Shaft to find his kidnapped daughter in "Shaft" is a variation on Bumpy" as is the kingpin mobster in "American Gangster" with Denzel Washington. The problem with Brancato's script is its uneven quality. The action-packed first half is more entertaining than the tedious, long-winded second half. The filmmakers glorify Bumpy initially as a Robin Hood gangster who steals from a rival mob and gives to Harlem's starving citizens.

Fishburne is riveting as a tough-as-nails but warm-hearted criminal. Roth takes top acting honors, however, as Dutch Schultz and looks like he had a ball exaggerating those vile elements in Schultz's psychotic behavior. Garcia epitomizes sartorial urbanity as the peace-making Italian gangster who divides his time between Bumpy, Dutch, and special prosecutor Dewey. Atherton's egotistical special prosecutor bristles with revulsion in his dealings with these crooks, but accepts their bribes. The filmmakers make the repressive Dewey appear particularly loathsome, a Judas whose contempt for the mob is exceeded only by his mockery of justice.

Despite some flavorful dialogue, "Hoodlum" plays it straight down the line as a dramatic shoot'em up. Audiences expecting a variation on Eddie Murphy's "Harlem Nights" may leave this Fishburne film disappointed. Although it's no "Godfather," "Hoodlum" is definitely above-average and far beyond those 1970s camp classics that headlined Fred Williamson as the black Caesar of crime in "Hell Up in Harlem." If you enjoy gangster epics, "Hoodlum" is worth the price of admission. Some critics have savaged "Hoodlum" for its debatable morality. Ironically, Bumpy rises to the summit of his profession. At fade-out, however, Duke and Brancato show that the gangster's life is one that leaves you standing alone in the rain outside the church door without a friend.

Half a dozen of the finest actors around wasted in a disjointed, dull, poorly written and directed film.

The actors seemed to realize they were in a bad film too. They looked confused, frustrated, or bored.

Tim Roth has a "What am I doing here?" look for the whole film. Andy Garcia barely shows up in this and lets the fake scar do his acting. Worst of all is the once mighty Cicely Tyson in the worst French accent you ever heard.

Bumpy Johnson's IRL story deserves better than this.

This is a movie set in the 1930's in Harlem. It is the height of the depression and a Negro, Bumpy Johnson, has just been released from gaol. He returns to find that the Queen's gambling racket is being threatened by a white man from downtown. Everybody in Harlem is happy with the way things are - people play the numbers game and win enough to put food on the table. But numbers is a very big business and the mafia wants a piece of it. The mafia boss of the time, Lucky Lucino, is content to let it go, but one of his underlings wants a piece of the action and soon a gang war breaks out.

This is the typical inter-war style movie with corrupt cops and politicians and crime running rife. The prohibition years are over, but people are making money now by other rackets, and the American system of brutal monopoly is leaving blood on the streets and the corrupt politicians are supporting those who have the most money. It is a time of lawlessness and strife, and in a way we should feel glad we don't live there. Another thing about the time is that the Negro is still very much in the underclass and there is a lot of prejudice and tension between the races.

The major theme here is how power corrupts. The Queen is taken to gaol and she gives Bumpy the business to run. Bumpy is a very intelligent man, but he is also very stubborn. He refuses to give into the non-Negros and will continue to fight until one is dead. Unfortunately his stubbornness brings about the death of many innocent people. During this time, his girlfriend walks out on him, and his cousin begins to disown him, yet he refuses to give in because he believes he is right.

This movie really looks at the tragedy of this, but it is not that tragic because Bumpy soon sees how he has changed and will begin to change before it is too late. But then with the death of his cousin, one can argue it is too late. His girlfriend has left, and chastises him for being so stubborn that he refuses to step into a church to pay respects for one of the dead. He finally steps into a church to pay respect to his cousin, and then walks straight out. As such we see the beginning of a change, but we don't follow through with it. The problems have been solved, and Harlem has its autonomy - what happens to Bumpy in the future is for the future.

Hoodlum (1997): Dir: Bill Duke / Cast: Laurence Fishburne, Tim Roth, Andy Garcia, Vanessa Williams, Cicely Tyson: Well made gangster film that evaporates into a litter of bullets. It regards lower standards of living and hostile attitude. Based on a true story in the 1930's Harlem with a triangle turf battle in motion. Laurence Fishburne leads the patrol against Tim Roth and Andy Garcia. He is smart and tough but unable to balance his personal life with romance. Bodies pile up and nobody really wins in the end. The concept still holds interest although the screenplay grows repetitious and weary. Director Bill Duke does a fine job with fantastic art direction. This film successfully captures the period for which it addresses but perhaps a tighter screenplay would have been beneficial. Fishburne holds his own as a gangster trying to be the gangster and the romantic interest. This will not work to his favour. Vanessa Williams delivers a strong performance as his love interest who is questioning the lifestyle he is involved in. Roth and Garcia overact as the two other opposing gang leaders who will end up on the receiving end of bad luck. This is not terrible filmmaking but the screenplay isn't as ambitious as it could have been. It does succeed in present the period for which it represents. Its purpose is to create the reality of gang lifestyles but the screenplay has more bark than bite. Score: 6 / 10

Here we have a film that feels like a lot of the "black" films, like the oust anding "soldier's story", trying to work in a little 'inside' humor. The story itself is a great one, it was the downfall of the reviled Schultz when he muscled in on the numbers racket.

Tim Roth almost gets to Oscar territory in this movie. Absolutely spectacular. Andy Garcia, ditto BIG time. Fishburnes part is very stolid and one dimensional as maybe the real Bumpy was but nevertheless he delivers.

A so so supporting cast, a weak script - except for Roth's lines - and Scorcese-oid attempts at certain setups and shots hose it down quite a bit for me. Funny story, I originally rented "Mobsters" by mistake and found that film pretty awful, this one was much better.

Bad direction at times, but mostly watchable with good continuity. Queen Latifa, Vanessa Williams and - CICELY TYSON!!! - all are absolutely superb. Latifa is actually one of my favorite actresses, she really shines with what they give her.

I would recommend it, historical inaccuracies aside (and there are MANY) because its an interesting story set at a time when the mob was finding new ways to make money after prohibition.

Interesting tidbit for real history buffs: Ed O'Casey plays Bo Weinberg, shown here as a fat pickle munching sideman who gets shot. In real life, 'twas the Dutchman himself, legend has it, who beat Bo unconscious, stuck his feet in cement and, still living, tossed him in the Hudson river. Dutch Schultz was psychopath enough to do it, that's for sure.

first of all, i think that Hollywood is on a bit of a realism kick these days... not the big-budget actioners or comedies (that seem to be competing to be unfunny); i mean films like 'the sweet hereafter' and 'in the bedroom' and 'ulee's gold', (all of which i liked, but) which in some ways elude the role escapism that i believe movies are meant to fulfill. if all movies were about real people doing realistic things, why would anyone go to the movies?

that being said, hoodlum wasn't quite as good as it could have been because of the lack of realistic situations, mainly due to the whole good gangster/bad gangster conflict. i never really sympathized with bumpy johnson, but rather found myself wondering if he was *ever* going to kill someone (except in self-defense) or do anything bad at all.

look at what the crime library (http://www.crimelibrary.com) had to say about this seemingly selfless gentleman... "Bumpy was a pimp, burglar and stickup man who possessed a recalcitrant attitude. He always carried a knife and gun, neither of which he was hesitant to use. All too often Bumpy ended up in barroom clashes over the slightest of issues. He feared nobody and did not shy from confrontations. Helen Lawrenson, in her book Stranger at the Party, remarked on Bumpy's short fuse and arrogance. "He never learned, however, to curb his temper or to bow his head to any man," She wrote." really? because watching the movie, one would find that bumpy exemplified self-control and discipline. and who did he rob, other than schultz's numbers racket? they conveniently left out the pimping part too - or wait - maybe he was a benevolent pimp?

i'm not saying there should not have been a hero, but heroes can have flaws. this film has some good scenes and acting (tim roth is always on the money, and this is one of my favourite performances of his) but ultimately for me it fell a little shy of the mark. the director has abandoned what could have been (with a bit more work) a well-framed and stoic reminder of a past era, in favour of cheap Hollywood drama. was it supposed to rely on historical texts, including every detail of 1930s harlem? absolutely not. but would duke have done a service to his audience had he made the characters somewhat more true to life and responsive to their respective situations? i think he had a duty to do so.

The gangster movie has been a staple in film since, well, the time of gangsters. Thugs and mob bosses, godfathers and goombahs, the stereotypes are always brought together mixing fact and fiction to tell a compelling story. For the most part these films have chosen to surround themselves with Italian based gangsters with the mafia being an easy target. But on occasion other stories are told and are quite satisfying such as HOODLUM.

The true story of Bumpy Johnson (Laurence Fishburne), a young black numbers runner in Harlem who did his time and returns in the employ of Stephanie "The Queen" St. Clair (Cicely Tyson). When she is sentenced to jail for racketeering she leaves Bumpy in charge with the promise of no bloodshed.

Bumpy continues to build the empire of St. Clair with himself at the top of the heap. Along the way he establishes a deal with the then de facto mob boss Lucky Luciano (Andy Garcia). In return for a small tribute Bumpy is allowed to run the numbers and other criminal enterprises in Harlem. This sets him up as a hero of the neighborhood, someone who can work with the mob and retain his own heritage.

But things don't go as planned and Dutch Schultz (Tim Roth) makes the decision to move into Bumpy's territory in spite of the truce. Going against Luciano doesn't help his cause though. Eventually Bumpy and Dutch will but heads and blood will flow in spite of past promises made. At stake will be the control of crime in Harlem.

While it claims to be a complete fictional account of events the film is based in some historical reality. There really was a Bumpy Johnson and he was the crime lord of Harlem. The same holds true for both Luciano and Schultz. What has been slightly altered is the storytelling that takes place around these names and the actual events that involved them.

Well made, well shot, well acted and well directed. The film did well enough at the box office but wasn't a mega-hit which it should have been. Fishburne was in the midst of his most popular status, 4 years out from WHAT'S LOVE GOT TO DO WITH IT and 2 years ahead of THE MATRIX. He turns in a great performance here with a seething anger that builds rather than an off the handle scream fest. Actor turned director Bill Duke does a fantastic job and why he wasn't presented with higher priced and more supported projects is anyone's guess.

In the end the question is does the movie entertain and the answer is yes. The story is interesting and all things combined to tell it make it one worth taking a look at. It's even more interesting when you realize that the character of Bumpy Johnson has been in more movies than this one. Fishburne himself played a character based on him in THE COTTON CLUB and Denzel Washington's film American GANGSTER had a character based on Bumpy that advises him. Knowing that makes this movie one to go back and check out again from a new perspective.