The high point of Blaxploitation political radicalism is commonly signposted with Melvin Van Peebles groundbreaking film – ‘Sweetback’. When considering the limitations of Blaxploitation cinema, the seminal nature of Peebles film should in no way exclusively act as the definitive reference point for the radicalism of the era or black cinema. Released in 1973, The Spook who sat by the door falls under the auspice of Blaxploitation but the political reality with which it dealt, that of black militancy and anti establishment ideology, is an aspect that most films avoided in fear of commercial alienation and criticism from the white establishment. The claim that Blaxploitation offered new ways of representing what it meant to be black in America seems like another liberal oversight considering how many of these films perpetuated a fantasy urban image of a black anti-hero. Many of these so called Blaxploitation films did little to further the political cause of the black communities in America as many of the films were financed by the major studios in a deliberate and premature attempt …