A tribal priest returns from the dead to take his revenge on non-believers.A tribal priest returns from the dead to take his revenge on non-believers.A tribal priest returns from the dead to take his revenge on non-believers.
John R. Russell
- Reverend Slater
- (as John Raphael R.)
Ethel Ayler
- Lady in bar
- (uncredited)
Ella Mitchell
- Lead singer
- (uncredited)
Dwayne Oliver
- Assistant leader
- (uncredited)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaMarlene Clark said during an interview in 2000 that the movie received a few favorable reviews from critics intrigued by its depiction of the Yoruba religion, first-hand knowledge of which came courtesy of the film's technical advisor. She said "I don't know how they found that man! He was an ex-pimp from Harlem who had bought some property in South Carolina and established an African village. He had like five wives, and of course, being an African king, you get to have all the queens, right? And this was the guy the producers hired to tell them about the Yoruba religion! We all stayed in the same motel. He was in one room, his wives were in another, and he would call for whichever wife he wanted that particular evening. I remember thinking, 'This isn't a big leap from being a pimp in New York, except you get to wear a lot of nice robes!'"
- GoofsWhile Memphis is praying in church, Jenny keeps yelling at him to get on his knees. He already is.
- ConnectionsFeatured in Trailer Trauma Part 4: Television Trauma (2017)
Featured review
Very good acting from top to bottom, and rich, interesting ideological and cultural thematics, elevate this underrated entry in the 1970s cycle of Black Cinema (especially underrated on IMDb, but somewhat less so on Letterboxd). The pacing is good, and a soft jazz and funk soundtrack are a constant presence.
While I can't claim to completely understand the logic of the ending, everything relates to a fascinating clash between the conflicted African American adoption of the colonizing forces of Christianity and ancestral religious practices and beliefs. Lord Shango is a must-see for anyone interested in 1970s Black Cinema or who values Black Cinema in general.
While I can't claim to completely understand the logic of the ending, everything relates to a fascinating clash between the conflicted African American adoption of the colonizing forces of Christianity and ancestral religious practices and beliefs. Lord Shango is a must-see for anyone interested in 1970s Black Cinema or who values Black Cinema in general.
- ebeckstr-1
- Jun 26, 2022
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Details
- Runtime1 hour 32 minutes
- Sound mix
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