莫斯在保加利亚社 会主义政党掌权前的1944年被错判入狱，等到他离开监狱的时候，已经是60年代了，当他回到首都索菲亚的时候，发现一切都与从前不同了，他决定以一段冒险开始自己的新生活。 　　该片在今年莫斯科国际电影节上获得了俄罗斯电影联盟的最佳国际电影奖，导演哈沃·嘉德夫则获得了最佳导演奖。

莫斯在保加利亚社 会主义政党掌权前的1944年被错判入狱，等到他离开监狱的时候，已经是60年代了，当他回到首都索菲亚的时候，发现一切都与从前不同了，他决定以一段冒险开始自己的新生活。 　　该片在今年莫斯科国际电影节上获得了俄罗斯电影联盟的最佳国际电影奖，导演哈沃·嘉德夫则获得了最佳导演奖。

One of the most influential Soul Cinema pix ever to shoot onto the screen, Cotton Comes To Harlem spawned the Blaxploitation boom by delivering a “refreshingly different detective action yarn with soul and humor” (Cue) and an unbeatable mix of “humor and excitement!” (Los Angeles Herald-Examiner). Detectives “Gravedigger” Jones (Godfrey Cambridge) and “Coffin Ed” Johnson (Raymond St. Jacques) are on a case investigating a crooked Reverend (Calvin Lockhart) – a brother whose “Back to Africa” campaign is nothing more than a big scam. But when $87,000 of the Reverend s laundered cash gets stashed in a bail of cotton, Gravedigger and Coffin find they’re not the only dudes suddenly interested in soaring cotton prices as they come up against the mafia, the police, black militants and street thugs in an all-out dash to nab $87,000 cash.

One of the most influential Soul Cinema pix ever to shoot onto the screen, Cotton Comes To Harlem spawned the Blaxploitation boom by delivering a “refreshingly different detective action yarn with soul and humor” (Cue) and an unbeatable mix of “humor and excitement!” (Los Angeles Herald-Examiner). Detectives “Gravedigger” Jones (Godfrey Cambridge) and “Coffin Ed” Johnson (Raymond St. Jacques) are on a case investigating a crooked Reverend (Calvin Lockhart) – a brother whose “Back to Africa” campaign is nothing more than a big scam. But when $87,000 of the Reverend s laundered cash gets stashed in a bail of cotton, Gravedigger and Coffin find they’re not the only dudes suddenly interested in soaring cotton prices as they come up against the mafia, the police, black militants and street thugs in an all-out dash to nab $87,000 cash.

A reformed drug addict travels to Italy to find out who murdered his aunt.

Richard Sarafian is a decidedly underrated director. After finally seeing this, it's satisfying to report his VANISHING POINT was not a flash-in-the-pan. FRAGMENT...does not move at the same pace, nor does it get the viewer involved quite as quickly, but once you're about twenty minutes in, you're hooked until the end as Sarafian and screenwriter Dehn continually manipulate reality and our perceptions of it, along with lead character David Hemmings' perceptions of it. Really brilliant in the way it portrays a matter-of-fact unfolding of events that seem like a conventional, yet still insidious conspired-murder-by-blackmail-ring plot. But then we're constantly shown by the dialogue and actions of other characters that these events we've just witnessed may never have occurred. As an audience, we're constantly being shifted back and forth, momentarily convinced that recovering-addict-turned-successful-writer Hemmings is undergoing paranoid delusions, then the next moment convinced there really is a vast conspiracy against him and his investigation into his rich aunt's death. Disturbing and constantly involving, sucking the viewer in until the shocking conclusion. Unfortunately, the film's one real liability, which may in fact be the reason for some viewers' antipathy toward this film, is its totally inappropriate music score. Not only is the score mixed too loud on the soundtrack, it repeatedly draws attention to itself, often diffusing the effects Sarafian is trying to achieve. If only they had gotten someone like John Dankworth who could have composed a similar jazzy score but much more subtly and in keeping with the film's rhythms. Of course, even better would have been Ennio Morricone, someone who had already scored many Italian giallo thrillers that had attempted to play with reality in a similar way. Whomever hired Johnny Harris made a big mistake. His score is the one thing that keeps this from being a genuine little masterpiece. 　　imdb comment