Tamara Dobson stars as an undercover government agent who uses the day job of supermodel as her cover and an excuse to travel to exotic places.

She drives a silver and black '73 Corvette Stingray (equipped with automatic weapons), and has martial arts ability.

When Cleo returns to LA to arrest the police responsible for the raid, she continues to take apart Mommy's underworld drug business, thwarting her minions along the way.

[6] From this social context emerged the desire for a black heroine who appealed to women through a combination of alluring femininity, female strength, and combat skill.

The film depicts the harsh reality of the black ghetto, but also portrays a united community whose members help and support one another.

[6] Although Cleopatra Jones contains themes relating specifically to the Black Power and feminist movements, it appeals to the general public and is said to be the "first blaxploitation film to use martial arts as part of its promotion.

Critic Chris Norton suggested, "like Bond, Cleo is not a stealthy character who tries to infiltrate the underworld by losing her identity ...

Her three-foot hat brims and flowing fur robes are treated with respect and awe within the film, just as Bond's refinements are looked upon as the height of good taste".

These were presumably the work of co-writer Sheldon Keller, a veteran TV comedy specialist whose numerous credits include The Dick Van Dyke Show and Caesar's Hour.

She grew up in Baltimore's inner city; her mother owned a beauty salon and her father worked at a railroad station.

On one hand, Jones ably combats Mommy's male henchmen, but on the other, she maintains a loving relationship with Reuben.

[6] While Jones works for "the Man", a white, all-powerful leader (the American government), the film also indicates a move toward racial equality.

[8] Cleopatra Jones replaces the traditional white male action hero with a powerful and assertive black heroine.

"[6] On the other hand, critics may view the emphasis on Jones' exoticism to be racially stereotypical rather than glorifying black beauty.

Lisa Anderson describes such imagery: "The animal metaphors resurface; the jezebel is represented as a tiger, a puma, a panther, or other large, sleek cat who slinks up and pounces on her prey.

Los Angeles Times film critic Kevin Thomas called it "an exceptionally well-made black action picture ... From start to finish this fast-moving Warner's release is shrewdly calculated and affirms the gifts of its director Jack [Starrett] in bringing style and meaning to the exploitation picture.

In her first starring role Miss Dobson more than makes up for her lack of acting experience by her dazzling looks, sultry personality, and unwavering poise.

"[5] Tapping into the Black Pride movement, the use of the name Cleopatra for a character who was strong physically, but equally feminine and independent, appealed to the urban public.

As the queen of Egypt, Cleopatra's role as a leader allowed African American women to identify with Dobson's character and finally call a heroine their own.

[5] On the other hand, critics of the blaxploitation industry complained that they were "dismayed by Tamara's image as a karate-chopping, pistol popping terror."

[10] In the film, Jones travels to Hong Kong to free government agents Matthew and Melvin Johnson, who have been captured by the Dragon Lady (Stella Stevens).

Jones pairs up with Mi Lin-fong (Tien Lie [zh]) and ends up in the Dragon Lady's casino, headquarters for her underground drug empire.