HELL UP IN HARLEM
Despite Hell Up In Harlem’s many problems, I have to say that I think I prefer it over its predecessor. While it’s certainly true that Black Caesar is the more earnest and ambitious of the two, I don’t think that the abilities of Cohen and his cast were always up to that level of earnestness and ambition. Williamson, for instance, while undeniable blessed with a glaring surplus of charisma, gives an enthusiastic performance in both movies, but is seemingly incapable of giving a convincing line reading, with the result that Caesar’s level of melodrama is really not his friend. Leading lady Gloria Hendry, on the other hand, is just a little too cozy with melodrama, and comports herself throughout much of her screen time in both films as if she were chained to the wailing wall. Factors like these, along with the rough edges of Cohen’s direction, combine to make Black Caesar a bit of a bumpy ride for fans of consistent narrative tone. By contrast, Hell Up In Harlem, with its frenetic opening deconstruction of Black Caesar’s final act, lets you know from the get-go that it’s going to be a wild ride through crazy town, and never disappoints.



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