{"id":7381,"date":"2021-10-03T09:59:48","date_gmt":"2021-10-03T14:59:48","guid":{"rendered":"https:\/\/blackworldcinema.net\/blog\/?p=7381"},"modified":"2025-06-03T00:27:49","modified_gmt":"2025-06-03T05:27:49","slug":"sept-26-3pm-top-of-the-heap-1972","status":"publish","type":"post","link":"https:\/\/blackworldcinema.net\/blog\/2021\/10\/03\/sept-26-3pm-top-of-the-heap-1972\/","title":{"rendered":"Sun, Oct 10, 3pm, Top of The Heap (1972), Chris St John in Person!"},"content":{"rendered":"

October 10, 3pm, 2021
\nTop of The Heap (1972)
\nChristopher St. John \u2022 Drama \u2022 94m<\/strong>
\nFree Screening & Discussion: Register Now<\/a>
\nWith much akin to Abel Ferrara’s “Bad Lieutenant” with striking similarities,\u00a0Top of the Heap<\/strong><\/em>\u00a0is a 1972 American\u00a0drama film\u00a0directed by and starring\u00a0Christopher St. John<\/a>.[2]<\/a><\/sup>\u00a0It was entered into the\u00a022nd Berlin International Film Festival<\/a>\u00a0and was nominated for a Golden Bear.<\/p>\n

George Lattimer is a frustrated D.C. cop struggling with turmoil within and without, attempting to juggle problems out on the street, on his job, and in his home all the while desiring, and dreaming to one day be at the Top of the Heap.<\/p>\n

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Panelist:<\/strong>
\n\"Christopher<\/a>Christopher St. John, sometimes credited as Chris St. John, is an American film and television actor. He is also a film producer, film director and screenwriter and played a minor role in the television series Remington Steele.<\/p>\n

A member of the Actors Studio starting in the mid-1960s, St. John is best known for playing the role of Ben Buford in the 1971 blaxploitation film Shaft. Between 1968 and 1988, he appeared in eight film and television productions.<\/p>\n

In addition to appearing as George Lattimer in Top of the Heap (1972), St. John wrote, directed, and produced the film. It was entered into the 22nd Berlin International Film Festival<\/a> and was nominated for the Golden Bear, the festival’s biggest prize.\u00a0 Richard Brody in The New Yorker<\/a> described the film as a “crucial work of Afrofuturism.”<\/p>\n

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