Yaphet Kotto was a skilled actor but that hardly describes his talents. He was a commanding screen presence who demanded the audience’s attention and possessed the sensibilities to retain it. His range could venture from solemn to the farcical into sincerity in one scene, with one character, without breaking it. At 6’4, his physical stature was beautifully matched by his still intensity. Sadly, Yaphet Kotto died on March 15th at the age of 81. He leaves behind a diverse and brilliant body of work that is largely unfamiliar and immensely undervalued.
Kotto was born in New York. By age 19, he was a professional stage actor. He made his film debut in 1963 in the western “4 for Texas” with Frank Sinatra and Dean Martin. Most people remember him as one of the all-time great Bond villains, “Mr. Big”, from 1973’s “Live and Let Die”. He also had great roles in a pair of sci-fi classics; “Alien” in 1979 and “The Running Man”, alongside Arnold Schwarzenegger, in 1987. From 1993-1999, Yaphet dazzled viewers in the NBC TV series “Homicide: Life on the Street” as Lieutenant Al Giardello. He was even rumored to be considered for the role of Lando Calrissian and offered the part of Captain Jean-Luc Picard. His career spanned six decades but his talent was greater than his acclaim. Here are five forgotten gems from Yaphet Kotto.
Across 110th Street (1972)
Kotto plays Lt. William Pope, a straight line New York cop who is adamant about taking criminals off the street. The film also stars Anthony Quinn as a racist police Capitan who is partnered with Kotto. The mismatched pair finds themselves in the middle of a case that involves black organized crime, corrupt cops and the mafia. “Across 110th Street” is a pseudo blaxplotation film. It provides an interesting social commentary (110th St. refers to the figurative dividing line between classes in New York). It’s a gritty crime movie and Yaphet is perfectly suited for the role.
Originally, the producer wanted Sidney Poitier for the part but the choice sparked outrage among Harlem residents because they didn’t think he was true to the character. Kotto was a natural fit. Not only was he a New York native, his restrained edge played perfectly against Quinn’s raging disposition. “Across 110th Street” also contains the hit Bobby Womack song of the same name. Quentin Tarantino featured the song prominently in his 1997 pseudo blaxploitation classic “Jackie Brown”.
Friday Foster (1975)
The Arthur Marks directed film is a prime example of blaxplotation and seems more relevant today than when it was made. It tells the story of a magazine photographer named Friday Foster (Pam Grier) who witnesses an assassination and uncovers a devious racial political plot. When Foster discovers her life is in danger and the reality of conspiracy, she must turn to private detective Colt Hawkins. The vibrant Colt Hawkins is brought to life by Yaphet Kotto. This movie, which was inspired by a comic strip, is a fast paced action thriller. It’s a fun ride and Kotto is great as Grier’s protector. Friday refers to Colt as her “Main Man”. With Yaphet’s magnetic performance that combines rugged brutality and macho elegance, who can blame her.
Blue Collar (1978)
In Paul Schrader’s amazing directorial debut, Kotto gives a smoldering performance as Smokey James. Smokey is a fed up auto worker who along with his two buddies (Harvey Keitel, Richard Pryor) decide to rip off their own union. The score turns out differently than expected creating disastrous situations for the three friends. “Blue Collar” is one of the most tragically forgotten productions of 1970’s cinema. It is an important film that tells a classic tale of common plight. In his original review, Roger Ebert described it as “an angry, radical movie…also enormously entertaining”. As the title suggests, the movie details the familiar struggle of the regular working man. The story highlights the desperation that he is sometimes reduced to. “Blue Collar” currently has a Rotten Tomatoes rating of 100%. As Smokey, Yaphet beautifully lubricates the criminal threesome. He is the one careful never to rush and provides perspective for the other two. The volcanic dynamic between Keitel and Pryor is what drives the film; Kotto’s performance is what makes it work.
Brubaker (1980)
This Academy Award nominated film stars Robert Redford as Henry Brubaker, the new warden of a corrupt Arkansas prison. To gain an understanding of the problems within the prison, Brubaker anonymously goes undercover as an inmate. He only reveals his true identity because the prison is in much worse shape than he originally anticipated. This is a raw prison movie that illuminates the need for real prison reform. The film is littered with great supporting performances including Jane Alexander, David Keith and Morgan Freeman, but none are as effective or as forceful as Yaphet Kotto. Yaphet plays Richard “Dickie” Coombes, a prison trusty who Brubaker hopes will help with the reform. But Coombes is an experienced convict. He wants to help the new Warden but he knows all too well that Wardens change, the system doesn’t. As Coombes, Kotto portrays a desperate man with few options. He is caught in an impossible situation and he knows it. The part is played flawlessly with sly dignity and a coarse charisma. But like so many of Yaphet’s characters, it feels as if an unforgiving wrath is simmering just below the surface.
Midnight Run (1988)
“Midnight Run” is a genuine masterpiece and like Yaphet Kotto, is genuinely underrated. The comedy/thriller stars Robert DeNiro as a bounty hunter hired to find a mob accountant played by Charles Grodin. As a 1980’s comedy duo, there are not many that can compete with DeNiro and Grodin in this film. It holds a Rotten Tomatoes score of 94% while Robert DeNiro has stated that “Midnight Run” is his favorite of all his movies. When DeNiro finds Grodin’s character, he must evade both the law and the mob in order to collect his fee. Yaphet plays FBI Special Agent Alonzo Mosely, one of several interested parties in finding the elusive twosome. As Mosely, Kotto is the perfect rudder to guide the movie. He is not exactly DeNiro’s nemesis but they are not exactly on the same side either. “Midnight Run” showcases Yaphet as the consummate straight man but his wry comedic timing is also on full display. “I’m Mosley!” This performance encapsulates so much of Yaphet Kotto. It conveys sincerity and seriousness at once. It features an agitated character who is almost always calm; a man who is restrained by choice, not by nature.
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