<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Fred Williamson - vo.rs</title><link>https://vo.rs/tags/fred-williamson/</link><description>Latest from the Fred Williamson desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Tue, 23 Jun 2026 11:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/fred-williamson/" rel="self" type="application/rss+xml"/><item><title>Black Caesar: The Gangster Film as Social Fury</title><link>https://vo.rs/screen/black-caesar-the-gangster-film-as-social-fury/</link><description>&lt;p&gt;The gangster picture has a shape as fixed as a folk ballad. A boy from nothing claws his way up through violence, tastes power, overreaches, and is destroyed by the same appetite that lifted him. Warner Bros. cut that template in the early 1930s with &lt;em&gt;Little Caesar&lt;/em&gt; and &lt;em&gt;The Public Enemy&lt;/em&gt;, and it has been reworked ever since. What Larry Cohen did in 1973 was take the oldest story in American crime cinema and ask what changes when the boy from nothing is a Black kid in Harlem and the world keeping him down combines poverty with a police force and a whole system built to grind him. The answer is &lt;em&gt;Black Caesar&lt;/em&gt;, and the change is everything.&lt;/p&gt;</description><pubDate>Tue, 23 Jun 2026 11:00:00 +0000</pubDate></item></channel></rss>