‘Shaft’ Has Changed in the Last Three Decades

Bravo to Earl Ofari Hutchinson’s insightful analysis of the new John Shaft’s moral turpitude (“Shaft’s His Name, but What’s His Game?,” July 3). The original Shaft’s sexual immorality (“sex machine with all the chicks”) has apparently been replaced, in the latest incarnation, by a trait more politically correct: brutality.

Casting was appropriate because it seems that Samuel L. Jackson’s characters have moved from revenge murder (“A Time to Kill”) to vigilante mayhem. Vigilante heroes used to assume some moral authority, as a last resort, when law enforcement systems failed. Unfortunately, Jackson’s characters’ brand of street justice is often the first resort.

MARK DAVIS

Los Angeles

I agree that there are some stark differences in the two generations of “Shaft.” Where I disagree is that Samuel L. Jackson’s version is not out for pure revenge.

I saw Shaft becoming frustrated while trying to maneuver through a legal system that was being manipulated by extremely rich and powerful white folks. The story showed Shaft going through the system just to have a guilty person illegally leaving the country for two years, further minimizing the value of a black life.

Pure revenge would have had the story line sending Shaft overseas to hunt the fugitive down and murder him in his sleep. Instead, Shaft again uses the system, waits until the fugitive returns and then watches once again as rich white America makes bail for a murder charge even though he is a proven flight risk.

Revenge is not the moral to this story. The moral is that when it comes to black folks, the legal system and jail in this country, there is no justice, there’s “just us.”

TONY BLEDSOE

Hawthorne