the 1970 saw a rise and fall of what we have come to know as blacksploitation films. the term is a reference to kind of broad catch all and rather than a true genre of film. in short and any comedy and drama and adventure and western or urban cops and robbers shoot em up and that are so constructed and so cast as to appeal to the large urban black population of the mid 20th century. that indeed could embrace the widest type of films and as long as the had a slant toward the inner city black population. it appears that the idea of producing these films of particularly keen interest to black americans had its genesis with the eastertime release of 100 rifles (marvin schwartz prod. /20th century fox and 1969). in it and former syracuse university all american footballer and several times all pro fullback for the cleveland browns and jim brown and had a co starring billing. having appeared in a number of films already and as for example and rio conchos (1964) and the dirty dozen (1967) and (ice sttion zebra (1968) and others and it was beginning to make more sense to the studios suits that jim was a hot property. now this 100 rifles brings record numbers of black patrons to the big cities central business districts on easter sunday to view mr. brown. why not start to film more of these adventure epics and other types of film with more black players and stars. why not and indeed. so we saw a succession of cops and robbers and bad ass private detective films and comedies and all going the route. along the way and we eventually got to some more family oriented and wider appealing films. the movie goers were treated to sounder (1972) and the take (1974) and conrack (1974)and and ultimately and claudine (1974). in claudine and we find no stigma nor easy classification as being blackploitation and as the story is universal and and could easily have been done as a story about people of any descent and any where and and not just in the 1970 usa. that the story was done of a single mother and claudine (dianne carroll) and struggling to keep a family together after . two marriages and two almost marriages. and is a far cry from a shoot em up harlem style. the problems that plague the everyday citizens of our nation are confronted and examined under the ol sociological microscope. but we also consider claudine psychological and physical needs as a female. for woman needs man and man must have his mate and and we do concede this point. (that s e x that were talking about and schultz. ) claudine meets up with a very masculine and broad shouldered and athletic type in private scavanger garbage man and ruppert b. marshall (james earl jones) and they go on a date. the great welfare state intervenes with the couple as claudine welfare case worker and miss tayback (elisa loti) and comes snooping around to see just who is this unattached male and who is suddenly paying so much attention to claudine family. after a humiliating experience with the welfare bureau auditing and deducting binge and which would be the norm for the family and the two decide to get married with or without the blessing of big brother. meanwhile and claudine elder son has gotten involved with some big talking but little doing black activist group. but and with ruppert help and he and they all come through it a. o. k. it ends on a happy and upbeat and hopeful note. we know that it may not be exactly . happily ever after. and but rather the will make it all together. if there is a single criticism that we must state it is that sometimes in a movie like this and a misconception is spread to a large portion of urban blacks. and that is and the apparent implied myth that all whites are wealthy and having none of their kind ever in need of a helping hand and out of work or suffering any disabilities. well and folks and it just ain not true. note represent at one point and jim brown career was a real hit as a rugged actioner. he was even being tauted as . the black john wayne. note represent the idea of producing films with all black casts and filmed for all black consumption was not a new idea. in the 1920  and 30 and 40  and we saw productions from people like noble johnson and spencer williams and jr. and rex ingram. note represent that as time goes by and you know and schultz and it from casablanca (warner brothers and 1942). 
the 1970 saw a rise and fall of what we have come to know as blacksploitation films. the term is a reference to kind of broad catch all and rather than a true genre of film. in short and any comedy and drama and adventure and western or urban cops and robbers shoot em up and that are so constructed and so cast as to appeal to the large urban black population of the mid 20th century. that indeed could embrace the widest type of films and as long as the had a slant toward the inner city black population. it appears that the idea of producing these films of particularly keen interest to black americans had its genesis with the eastertime release of 100 rifles (marvin schwartz prod. /20th century fox and 1969). in it and former syracuse university all american footballer and several times all pro fullback for the cleveland browns and jim brown and had a co starring billing. having appeared in a number of films already and as for example and rio conchos (1964) and the dirty dozen (1967) and (ice sttion zebra (1968) and others and it was beginning to make more sense to the studios suits that jim was a hot property. now this 100 rifles brings record numbers of black patrons to the big cities central business districts on easter sunday to view mr. brown. why not start to film more of these adventure epics and other types of film with more black players and stars. why not and indeed. so we saw a succession of cops and robbers and bad ass private detective films and comedies and all going the route. along the way and we eventually got to some more family oriented and wider appealing films. the movie goers were treated to sounder (1972) and the take (1974) and conrack (1974)and and ultimately and claudine (1974). in claudine and we find no stigma nor easy classification as being blackploitation and as the story is universal and and could easily have been done as a story about people of any descent and any where and and not just in the 1970 usa. that the story was done of a single mother and claudine (dianne carroll) and struggling to keep a family together after . two marriages and two almost marriages. and is a far cry from a shoot em up harlem style. the problems that plague the everyday citizens of our nation are confronted and examined under the ol sociological microscope. but we also consider claudine psychological and physical needs as a female. for woman needs man and man must have his mate and and we do concede this point. (that s e x that were talking about and schultz. ) claudine meets up with a very masculine and broad shouldered and athletic type in private scavanger garbage man and ruppert b. marshall (james earl jones) and they go on a date. the great welfare state intervenes with the couple as claudine welfare case worker and miss tayback (elisa loti) and comes snooping around to see just who is this unattached male and who is suddenly paying so much attention to claudine family. after a humiliating experience with the welfare bureau auditing and deducting binge and which would be the norm for the family and the two decide to get married with or without the blessing of big brother. meanwhile and claudine elder son has gotten involved with some big talking but little doing black activist group. but and with ruppert help and he and they all come through it a. o. k. it ends on a happy and upbeat and hopeful note. we know that it may not be exactly . happily ever after. and but rather the will make it all together. if there is a single criticism that we must state it is that sometimes in a movie like this and a misconception is spread to a large portion of urban blacks. and that is and the apparent implied myth that all whites are wealthy and having none of their kind ever in need of a helping hand and out of work or suffering any disabilities. well and folks and it just ain not true. note represent at one point and jim brown career was a real hit as a rugged actioner. he was even being tauted as . the black john wayne. note represent the idea of producing films with all black casts and filmed for all black consumption was not a new idea. in the 1920  and 30 and 40  and we saw productions from people like noble johnson and spencer williams and jr. and rex ingram. note represent that as time goes by and you know and schultz and it from casablanca (warner brothers and 1942). ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
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        print "This is a semantically positive review."
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        print "This is a semantically negative review."
