The world of "Super Fly" may be hell, but it also makes sense.Tall, handsome, with flowing hair and coat, with flashing eyes, and with a gold cross around his neck that he uses to sniff his own cocaine, Priest must embody a lifetime of fantasies, with his mammoth car, his apartment downtown, his rich and elegant women. But a feeling for absolute and fateful interdependence has always been the special glory of the best crime movies. For Priest merely to win some time to make choices, he must engineer an escape that inevitably creates a prison for somebody else-the bad guy as it happens, the Man, the biggest dealer of them all. But, they always connect with one another in a world so precisely, cruelly, excitingly balanced that there is no movement without countermovement, no pressure without a greater pressure in return.It is a world of the most limited options-all leading to the question of being in or getting out.
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The film's gut pleasures are real, and there are a lot of them.
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To finance his retirement he means to deal $300,000 worth of cocaine into a $1-million profit, and so "Super Fly" belongs in the company of all those crime movies that have had as their subject the one big last job.That it does not also belong with those movies portraying the evils of drugs, must be the result of very intelligent calculation for there is no moralizing, not even the subtle silent kind, and the film's most eloquent spoken passage is given to Priest's partner when he defends dealing as a way of life."Super Fly" is almost exclusively an action movie, but with the distinction that all the action means something, and is not simply a lot of running or driving or flying around for the mechanical titillation of the customers. "Super Fly" is the story of Priest, a successful black New York narcotics dealer who decides to quit the business-and does it.