This is a decent and very watchable film--the first so-called "blaxploitation" film. However, this label is hard to apply to this film because although it has many of the sensibilities (stupid White cops as well as gratuitous nudity),it also features some things you never or rarely see in this genre. First, the heroes of this film are Black cops (Coffin and Gravediffer)--and cops are NOT leading men in blaxploitation films! Second, one of the biggest scumbags in the film is a Marcus Garvey-like Black con-man, the Rev. Deke O'Malley. So instead of trying to pigeonhole this film into this genre, I'd rather just judge it by itself.

The film has an excellent R&B score--one of the better ones of the era. The acting by all was very good, though Godfrey Cambridge came off the best of the lot. Direction by veteran actor Ossie Davis was also pretty good.

One serious complaint is that the film doesn't seem to know, at times, whether it's a comedy or drama--I wish it had stuck a little closer to one or the other. The other problem is that while the movie was definitely intended to appeal to Black audiences, it could have resounded well with all audiences if they'd let up a little on the negative attitudes towards Whites--though, back in 1970, I could certainly understand all the anger, resentment and mistrust. Heck, had I been Black back then, I'm pretty sure I would have hated White folks as well. It's too bad really, as because of this most non-Black audiences would miss out on seeing a good film.

By the way, the movie makes a couple references to Marcus Garvey. The Reverend's character was based on him, though Garvey by almost all accounts did not intend to cheat investors in his Black cruise line. Try reading up on the man--he's one of the most interesting yet forgotten civil rights leaders of the 20th century.

"Sweet Sweetback's Baad Asssss Song" has usually been credited as the first blaxploitation film, but wasn't "Cotton Comes to Harlem" released even before that? Anyway, the latter has African-American cops Gravedigger (Godfrey Cambridge) and Coffin Ed (Raymond St. Jacques) investigating whether local clergyman Deke O'Malley (Calvin Lockhart) is really what he seems.

Of course, the movie is really an excuse to show black people breaking away from The Man's white-people mores. And they do just that. My favorite scene is when a white cop goes up to a room with a black woman and both of them proceed to strip. She suddenly runs away and when he tries to follow her, he gets locked out of the apartment completely naked. I just try to imagine being one of the black Brothers or Sisters looking at this idiotic honky walking around.

Anyway, "Cotton Comes to Harlem" is silly but lovable. If we can be certain of only one thing, it's that Ossie Davis was as great a director as he was an actor. And Redd Foxx (before "Sanford and Son") plays a great supporting role.

Films such as "Shaft" and "Sweet Sweetback's Baadasssss Song" may be generally credited for kick starting the blaxploitation boom of the 1970s, but this lively, engaging action comedy actually beat them to the punch. Adapted from the novel by Chester Himes, it was co-written and directed by the iconic black actor Ossie Davis, who guides all of it in high style. Well staged and well shot at various Harlem locations, it begins with a bang and holds your attention until a memorable finale at the Apollo.

Godfrey Cambridge and Raymond St. Jacques star as hip, stylish police detectives "Grave Digger" Jones and "Coffin Ed" Johnson. They're suspicious of reverend / activist Deke O'Malley (Calvin Lockhart),and indeed the man is a big phony. At stake is $87,000 of the money of the hard working people of Harlem, who thought it was going towards a cruise to Africa. In their own "head breaking" but honourable way, Grave Digger and Coffin Ed work the clues and track down the cash, while dealing with a demanding white superior (John Anderson) and sundry other characters.

"Cotton Comes to Harlem" promises fine entertainment to come, in much the same way that Grave Digger and Coffin Ed follow through on their promises. The music score by Galt MacDermot is brilliant, as are the songs on the soundtrack. Director Davis keeps the pace, the laughs, and the action consistent. The cast is full of familiar faces: lovely ladies Judy Pace and Emily Yancy, the legendary Redd Foxx (just a few years before 'Sanford & Son'),Lou Jacobi, Eugene Roche, J.D. Cannon, Cleavon Little, Teddy Wilson, Helen Martin, and Leonardo Cimino. All of them are great, but it's the smooth chemistry between Cambridge and St. Jacques that dominates the proceedings. They make for a great pairing. They're smart, tough, and don't miss a beat.

The ending offers a delicious twist that you won't see coming if you're not already familiar with the material.

Followed by the sequel, "Come Back Charleston Blue".

Eight out of 10.