Richard Rowntree brings considerable charm to his portrayal of the clever Harlem private eye “Shaft,” who becomes entangled in some rather harsh New York political dealings. He's brought into the situation by local crime boss "Bumpy" (Moses Gunn) after Bumpy’s daughter disappears. The circumstances surrounding her abduction are unclear—there are no ransom notes and few clues, but numerous individuals come under suspicion. At first, he wonders if it might be connected to the “Black Power” movement, but following some questionable leads, he starts to believe that other criminals intend to harm his employer and seize control of the city’s profitable illegal enterprises. "Shaft" is aware that information is being carefully controlled, and both "Bumpy" and police officer "Androzzi" (Charles Cioffi) seem to be attempting to use him as they each pursue “Marcy” (Sherri Brewer). The film has a polished and sophisticated feel, with Rowntree skillfully maneuvering through the racial tensions of his environment. His “Shaft” is quite appealing, and while some of the situations stretch believability, he effectively highlights just how little integration existed in what was presented as an integrated society. There's violence and sexuality present, but these are largely suggested as the narrative progresses within a harsh setting where the characters don’t always conform to standard stereotypes. Isaac Hayes’s theme music enhances the overall aesthetic of the early 1970s, with its emphasis on large vehicles, footwear, hairstyles, and possibilities; although it may seem dated now, it strengthens a generally good story.

Source on TMDB