
Cleo (Tamara Dobson) is a United States Special agent whose jurisdiction extends from Ankara to Watts Towers as she tried to shut down the drug trade poising the youth of Los Angeles during the early 1970s. After destroying a poppy field worth 30 million dollars, Cleo angers the L.A. Crime lord, Mama (Shelly Winters) and Mama declares an all out war on Cleo. Manipulating her contacts with the police department Mama fixes it so that a facility dedicated to getting kids off the hard drugs is raided and incriminating evidence (planted) is found, provoking Cleo’s return to L.A. The film follows Cleo’s attempts to clear the anti-drug house, keep the residents from exploding into violence against the racist, oppressive police, and ending Mama’s criminal empire.
Cleopatra Jones was a fun film that wasted very little in terms of time or momentum. There are a number of film makers that need to learn these filmmakers lesson in economy of storytelling. With stronger elements of wish fulfillment that either of the other two film I have watched, Jones, fulfills one of the purposes of fiction, displaying for people a world that can be better, a world that can be made into reality, even while dealing with the subject matter in a never-lose James Bond method.