Solomon King Blu-ray Movie

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Solomon King Blu-ray Movie United States

Slipcover in Original Pressing
Deaf Crocodile Films | 1974 | 87 min | Unrated | Jan 31, 2023

Solomon King (Blu-ray Movie), temporary cover art

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List price: $25.99
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Buy Solomon King on Blu-ray Movie

Movie rating

6.9
 / 10

Blu-ray rating

Users0.0 of 50.0
Reviewer4.5 of 54.5
Overall4.5 of 54.5

Overview

Solomon King (1974)

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 Boyd

Action100%

Specifications

  • Video

    Video codec: MPEG-4 AVC
    Video resolution: 1080p
    Aspect ratio: 1.85:1
    Original aspect ratio: 1.85:1

  • Audio

    English: LPCM 2.0 Mono (48kHz, 24-bit)
    BDInfo corrected

  • Subtitles

    English SDH

  • Discs

    Blu-ray Disc
    Single disc (1 BD)

  • Packaging

    Slipcover in original pressing

  • Playback

    Region A (B, C untested)

Review

Rating summary

Movie3.0 of 53.0
Video4.5 of 54.5
Audio4.5 of 54.5
Extras3.5 of 53.5
Overall4.5 of 54.5

Solomon King Blu-ray Movie Review

Reviewed by Brian Orndorf January 19, 2023

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.


Hassan (Richard Scarso) is looking to take control of the country and its oil fields, setting up a plan to murder Princess Oneeba (Claudia Russo), who’s being escorted by Maney (James Watts), the brother of ex-CIA agent Solomon (Sal Watts). Hassan is focused on disrupting power in Africa, using his connections to collect the princess, while Solomon is tasked with protection, getting cozy with Oneeba, who’s very interested in remaining close to the Oakland native’s special aura. When disaster strikes, Solomon is forced to deal with his CIA ties and escalating criminal activity, recognizing threats from all sides as he takes on Hassan’s evil ways.

Hassan is the villain of “Solomon King,” and his introduction comes right away, with the meanie supplying a massive exposition dump before viewers know anything about anything in the picture. And even then, it’s not entirely clear what’s going on, with confusion carrying on for most of the movie. Hassan is after African oilfields, looking to off Princess Oneeba as a way to break royal rule and claim a fortune. However, she’s with Maney, and soon with Solomon, with the man of action taking possession of the princess, who’s powerless to resist his sheer presence. For such a small- time production, there’s a lot to comprehend about “Solomon King,” with Watts laboring to make as much of an epic as possible with limited funds.

Watts wrestles with storytelling during “Solomon King,” which eventually dismisses a plot to deal directly with Solomon’s swankiness as he tours Oakland, visiting clubs and CIA offices. Editing is rough throughout the movie, but a singular drive to make a big screen hero out of Solomon is immediately understood, with Watts giving himself a sex machine glow as all the ladies in the community are pulled toward his charms. “Solomon King” finds its footing as an exercise in hero worship, watching as Oneeba and her bodyguard get to know each other. However, such peace isn’t meant to last, with the endeavor providing some scenes of violence, including gunplay, which erupts inside of a bar used as a meeting place for white leaders to recruit black enforcers. It’s not much, but some physical activity is welcome.

Race plays a big role in “Solomon King,” which keeps up with genre interests in white deception and black power, but it’s never a profound take on rampant inequality and manipulation. Watts is more interested in exploring atmosphere anyway, inserting musical performances and dance sequences into the feature, also maintaining a repetitive score to keep things sounding funky when the actual film isn’t quite as cool and confident.


Solomon King Blu-ray Movie, Video Quality  4.5 of 5

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.


Solomon King Blu-ray Movie, Audio Quality  4.5 of 5

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.


Solomon King Blu-ray Movie, Special Features and Extras  3.5 of 5

  • Booklet (18 pages) features an essay by Josiah Howard and a reproduction of the "Solomon King" pressbook.
  • Commentary #1 features author Steve Ryfle.
  • Commentary #2 features film critic Walter Chaw.
  • "A Talk with Belinda Burton-Watts" (HD) is a three-part conversation with the widow of "Solomon Kane" writer/director Sal Watts. Part 1 (32:19) examines Belinda's formative years, confronted with American racism as she tried to understand the world around her. She discusses Sal's early experiences as well, including his time in the military and his encounter with violence, leaving him permanently wounded. Sal's move to Oakland is detailed, where he befriended Mantan Moreland and developed several businesses, including focus on fashion and music. Belinda's first encounter with Sal is remembered, examining their early days and her impression of the man, who was determined to make his move on the woman. Part 2 (27:13) takes a look at the formation of "Solomon King," with Sal using his resources and Oakland community to help assemble pieces of the production. Belinda's contribution to the picture is celebrated, and Sal's creative influences are identified. Casting is explored (including Belinda's cameo appearance) and fashion is celebrated. Part 3 (28:08) details life after the movie, as Sal faced aborted plans for a cinematic follow-up and a stint in prison. The conversation soon deviates completely from filmmaking to talk about the scourge of racism.
  • "The Jay Payton Show" (51:18, SD) is an episode of the "Soul Train"-esque music program, with the host a primary influence on Sal Watts, helping him to achieve his filmmaking dream.
  • "Restoration Demo" (5:57, HD) examines the extraordinary work put into the resurrection of "Solomon King" for this Blu- ray release.
  • And a 2022 Trailer (2:20, HD) is included.


Solomon King Blu-ray Movie, Overall Score and Recommendation  4.5 of 5

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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