6.9 | / 10 |
Users | 0.0 | |
Reviewer | 4.5 | |
Overall | 4.5 |
CIA trained detective Solomon King has to use all of his dirty tricks and experiences to get revenge on the person responsible for the murder of his girlfriend. A trail leads him to a desert in the Middle East.
Starring: James Watts, Sal Watts, Tanya BoydAction | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: LPCM 2.0 Mono (48kHz, 24-bit)
BDInfo corrected
English SDH
Blu-ray Disc
Single disc (1 BD)
Slipcover in original pressing
Region A (B, C untested)
Movie | 3.0 | |
Video | 4.5 | |
Audio | 4.5 | |
Extras | 3.5 | |
Overall | 4.5 |
The success of the Blaxploitation subgenre inspired many filmmakers to try to participate in the gold rush, working with whatever they could to slap together a sellable product for a specific audience. 1974’s “Solomon King” is an example of such small-time ambition, with writer/director/star Sal Watts trying to shape his own starring vehicle, delivering a valentine to his personal style and swagger. In the era of “Shaft” and “Superfly,” “Solomon King” doesn’t offer much craft or substance, though it remains a determined backyard production, with Watts using his homebase of Oakland to the best of his ability, trying to transform a section of the city into a global incident. He doesn’t exactly succeed, but the randomness of the endeavor is something to behold.
An opening card explains the situation with "Solomon King," as the original camera negative is believed to be lost. The AVC encoded image (1.85:1 aspect ratio) presentation represents an extensive restoration effort from Deaf Crocodile, with the company bringing an old 35mm print back to life. The results are impressive, reviving the admittedly limited visual power of the feature, refreshing color as pinkness is replaced with a fuller sense of primaries, working with period style. Reds are managed satisfactorily, and skin tones are natural. Detail is inviting, offering a decently fibrous look at costuming and textured understanding of skin surfaces. Exteriors are dimensional, exploring Oakland communities, and interiors retain a feel for decorative elements and shaggy carpets. Delineation is satisfactory. Grain is capably resolved. Source shows some wear and tear, with a few deep emulsion scratches and occasional missing frames.
The 2.0 LPCM track is also restored from the original 35mm track negative. Clarity goes as far as possible with this low-budget production, finding dialogue exchanges intelligible throughout the listening experience. Scoring cues support with satisfactory instrumentation, adding a funk groove to the endeavor, and soundtrack selections are clear. Sound effects are also appreciable.
For some reason, war is declared in the final act of "Solomon King," with Watts channeling serious "Red Zone Cuba" energy as the hero and his Green Beret buddies storm Hassan's fortress. It's a ridiculous conclusion for a goofy feature, and one that's holding on to story and character by its fingertips, with Watts much more interested in the idea of a triumphant tale of cocksure bravery than the actual execution of one. "Solomon King" is certainly going after a vibe, hoping to play into marketplace expectations for Blaxploitation entertainment, and it offers value as an example of DIY filmmaking during an era when such an undertaking wasn't easy. It's not a compelling or polished effort, ideally suited for "bad movie night' viewing, but it's hard to deny Watts's internal drive to make himself look fabulous onscreen, which appears to be the primary creative goal for the picture.
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