Wow! Such a good movie.

Strong and Moving!

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Slow dull Fred Williamson directed film about the title character,played by Williamson, getting tossed from the army for punching a white officer who tried to kill him and ending up in the middle of a mafia war between two rival families. Just okay action (not counting the laughable martial arts) and okay exposition sequences are done in by dead pacing and dull direction. This film feels wickedly padded with several sequences of Williamson on the street trying to find a job set to meaningful music. It stops the film dead and I wanted to reach for the remote. The sad thing about this film is that the basic plot is very good and it has some nice twists. The problem was that I kind of stopped really watching and let the film drift into the background, only coming back to the film when something interesting happened, which was then followed by my drifting out again. Not really worth a look.

**SPOILER ALERT** Drummed out of the US Army for slugging his CO Capt. O'Malley, Aaron Banks, Johnny Barrows, Fred Williamson, drifts into town looking for a job ending up instead beaten and robbed by a couple of homeboys as soon as he leaves the bus.Picked up by the cops thinking that he's a homeless drunk, homeless yes drunk no, Johnny gets worked over again at the jail house until the precinct captain who recognized Johnny as a star high school and collage football player, and decorated Vietnam War Vet, intervenes. At first Johnny is nothing but a shell of his former self going around town looking for a job as well as a free meal. While on skid row Johnny runs into Elliott Gould playing the part of a hobo wise-man who's name, Prof.Theodore Rasputin Waterhouse, is longer then the part that he has in the movie. We see Theodore teach Johnny the fine points of living and surviving on the streets by getting a unsuspecting soul, at a hot-dog stand, to share his frankfurter with him and Johnny.Johnny had earlier gotten to know Mafiso bigwig Mario Racconi, Stuart Whitman, when he tried to get a free meal of spaghetti and meatballs at his restaurant which Mario overruled his angry chef, Jan J. Madrid, and gave him. Johnny also met Mario's girlfriend Nancy, Jenny Sherman, who took a strange liking to the wandering and homeless vet. It's when Mario offered Johnny a job as a hit-man for his organization he respectfully turned it down having done enough hit's in Nam then he would like to remember.Still out to make an honest living Johnny ends up cleaning bathrooms and mopping floors at Richard's, R.G Armstrong, gas station but the cheap and ungrateful Richard, after Johnny broke his back working for him, gives Johnny a measly 21 dollars that comes out to something like .70 a day, for the month that he was employed by him. This leads Johnny to lose his cool and Richard to lose a couple of his teeth. Ending up again at the jail-house Johnny is set free with the help of the Racconi mob who got the now scared to death Richard to drop all charges against Johnny.Mario together with his father Mafia Don Racconi, Luther Adler,had been gunned down by the rival De Vince Mob at a meeting of the minds between the two gang leaders about the trafficking of deadly and illegal drugs on the streets of L.A which Don Racconi was deathly against. With Mario surviving the shoot-out, his father Don Racconi didn't, he gets Johnny to agree to hit the De Vincie mob as a favor to him and Nancy whom Johnny has since fallen in love with.Knocking off the entire De Vince Mob that included Don De Vince, Anthony Caruso, and his young and schmucky son Tony, Roddy McDowall, Johnny didn't realize that Tony was actually Nancy's man! Tony was planning with Nancy to get his father's and the Racconi Mob to kill each other off and then take take off with Nancy and both mob's assets to Mexico.During the final stages of warfare with the De Vince mob Johnny come to battle it out again with the former Capt. O'Malley Johnny's old Army CO, who got him canned out of the service, who's now a martial arts hit man for the De Vincie's. O'Malley was no pushover using karate and judo tactics on Johnny but in the end Johnny get's the upper hand by returning a deadly flying star back to O'Malley throat. The ending of "Mean Johnny Barrows" was a bit confusing not that Johnny was doubled-crossed by Nancy, whom we already knew was two-timing him, but the way Nancy was finished off seemed a bit out of place; stepping on a land mine in lovely and crime-free Malibu?

I got this film as part of this budget "Bad Brothas, Mean Mothas" boxed set, and watched this one first, because it stars Fred "Super-stud" Willaimson. I was surprised at what different and ambitous movie this is. Whether it lives up to all that ambition...Rather than a typical revenge fantasy (nothing wrong with those, but...) this film follows Johnny B. as he tries to get a job and resist joining the mob after being dishonorably discharged from the army for striking a white officer (after being, to put it lightly, provoked).It takes a while as the film unfolds to realize that he's not, as usually happens in these movies, going to get p***ed and get even. He is arrested and tormented by the police to which he won't even give his name or say anything. For a while I thought he was dazed by being beaten earlier, but by the time he gets to the police station he should be more coherent. Then I thought "Well, he's just so COOL that he won't even dignify those cops by talking to them," but then that falls apart as well and... I just don't know why he wouldn't talk. Because it's a plot point, I suspect.The main idea of the story is Johnny trying to get a real job, and resist the mobsters who are offering him big money to become a hit man.(SPOILERS AHEAD----->)The arc of the movie hinges on Johnny's love for a woman (a WHITE woman, no less), which we are supposed to understand leads to him finally agreeing to work for the mob in order to avenge her rape. Sadly, this entire aspect of the film just doesn't come off at all, as there is barely any connection between him and the woman, there is no discernible chemistry between them... there's just nothing. (more spoilers here:) Another interesting thing about the structure of the film is how Johnny ends up the head of this crime organization at the end. It's just kind of interesting and unexpected. Then he offers his love to the woman, and instead of saying "Yes Johnny, take me anywhere and make love to me all day and all night! Do it right here! Do it right now!" like any sane woman or man would do, she... has a different reaction. And this leads to another surprising thing: the ending, which I totally didn't expect, but won't give away.This movie being directed by Fred himself adds a dimension to all the adoring shots of himself glaring face-on into the camera, but hey, he looks great and he knows it. I also like the change when he finally gets into those slick suits. The cheap DVD I got REALLY suffers from not being widescreen, as Fred seems to like to place his characters on opposite ends of the screen, and it seemed like more than half of the movie featured half a person's face or shuttled back and forth between the ends of the screen.A lot of people posting here have talked about how slow this movie is... I think because they're expecting a traditional revenge tale. This movie is not the greatest, but I think it deserves to be admired for the unconventionality of the story, and the aspects of 70s black culture (namely trying to get a decent job without any credentials, the difficulty of avoiding drawn into crime, in addition to the hammered in "plight of the veteran" aspects) that you don't see covered in other movies, which I think makes it kind of a little gem.--- Check out website devoted to bad and cheesy movies: www.cinemademerde.com

I can't say that this film was any good. There isn't much to be said about the plot, acting, direction ... anything, really. I like Fred Williamson, but "Mean Johnny Barrows" certainly isn't the high water mark in his resume.That being said ... the scene with Williamson and Elliott Gould was, I thought, really touching. Not necessarily in the context of the movie itself ... but I couldn't help but notice that probably 95% of that scene was improvised by both Williamson and Gould. As I understand it, both men became friends while filming Robert Altman's "M*A*S*H," and I suspect that Gould probably did the "Professor" role as a favor to his friend Williamson.The scene is set in the first act of the movie and is relatively short ... I'd say about three or four minutes in length. It doesn't add any sort of perspective to the plot at all. It probably could have been cut from the film altogether, were it not for Elliott Gould's namesake.Anyhow ... Gould's "Professor" character attempts to educate Williamson's "Barrows" on how a bum ought to live. The two find a clueless man ordering a hot dog and root beer from a street vendor. After a little smooth talking from Gould, he entices the "man with the popsicle shirt" to purchase "a couple dogs with some kraut" for he and Williamson. This scene is totally improvised by both men, leaving the other poor guy in stitches. And in the context of the movie, Williamson's "Barrows" would probably not be laughing it up and saying things like "shall we?" unless he was completely intoxicated or some other way out of his element. I suppose it was refreshing to see these two "old friends" having a good time NOT taking themselves or the scene too seriously.It's probably pretty silly, but that scene really tickled me. I'm a huge admirer of Elliott Gould's earlier work, but until the moment I saw him on screen, I had no idea he was in this movie. It was a nice surprise. Made this movie a little more palatable. Though I suppose I've seen worse movies by comparison, I doubt that "Mean Johnny Barrows" is a feather in either Fred Williamson's or Elliott Gould's cap.