Paul L. Evans

Two lovers romance is impeded by voodoo in the Caribbean. They are drawn into destructive rites, rituals and practice of Obeah. The young woman is the evil spirits focus. The mighty forces are summoned by a dark priestess. "I'm an Obeah man, I'm not a science man, I see things," says the man, who is known by only one name: Judge.

A concert film highlighted by performances from Marvin Gaye, Jerry Butler, and Roberta Flack.

A slick, smooth-talking, womanizing young black DJ falls hard for an enigmatic woman he's just met. Things take a turn for the worse, though, when she is found dead in his apartment. It turns out that she was killed by the local mob, which is trying to frame him for the crime. With the police after him, he calls on some of his old acquaintances to help clear his name and avenge the woman's death.

A behind the scenes look at the filming of the movie Shaft (1971). The movie's director, Gordon Parks is seen directing a couple of fight scenes which he wants to get in as few takes as possible due to the set-up time and the danger involved in the stunt work. He is also seen speaking to the composer of the film score, 'Isaac Hayes', about the overlaying of the music over one of those fight scenes, and what he wants musically for another scene involving the lead character, John Shaft, moving through Times Square. The latter would eventually become the movie's iconic theme music. Being a frenetically paced action movie, he also works closely with the film's editor, Hugh A. Robertson.

A behind the scenes look at the filming of the movie Shaft (1971). The movie's director, Gordon Parks is seen directing a couple of fight scenes which he wants to get in as few takes as possible due to the set-up time and the danger involved in the stunt work. He is also seen speaking to the composer of the film score, 'Isaac Hayes', about the overlaying of the music over one of those fight scenes, and what he wants musically for another scene involving the lead character, John Shaft, moving through Times Square. The latter would eventually become the movie's iconic theme music. Being a frenetically paced action movie, he also works closely with the film's editor, Hugh A. Robertson.