Photo: William Greaves Productions.
The film Once Upon a Time in Harlem centers on a cocktail party William Greaves hosted in August 1972 with men snd women of the Harlem Renaissance who were still living.
Many Americans know of the Harlem Renaissance as the flourishing of African American arts and culture in New York in the 1920s and 1930s. But a documentary about it was filmed mostly in the 1970s when William Greaves rounded up the remaining members of the movement and had a party.
Nadia Khomami explained recently at the Guardian, “In 1969, the pioneering documentarian William Greaves wrote of his fury over the racially degrading stereotypes that white film producers threw up on American screens. …
“Three years later, Greaves began work on what he considered the most important footage he ever shot: a feature documentary gathering surviving figures of the Harlem Renaissance to reflect on the movement they had built half a century earlier.
“Now, more than 50 years after cameras rolled, Once Upon a Time in Harlem is finally receiving its international premiere in Cannes’ Directors’ Fortnight – completed not by William Greaves, who died in 2014, but by his son David and granddaughter Liani.
“The documentary centers on a cocktail party Greaves hosted at Duke Ellington’s townhouse in Harlem in August 1972 – an attempt to capture the voices of artists, writers, musicians and organisers whose work had transformed Black American culture in the 1920s, but whose stories were already at risk of being sidelined.
“Greaves invited every surviving participant he could locate. Many had not seen one another for decades. They included the painter Aaron Douglas; the queer artist and writer Richard Bruce Nugent; the poet Arna Bontemps; the musicians Eubie Blake and Noble Sissle; the photographer James Van Der Zee; and Ida Mae Cullen, the widow of Countee Cullen.
“For four hours, Greaves filmed them as they laughed, reminisced and debated. The resulting film follows the rhythm of the party itself: tentative greetings and warm memories gradually giving way to animated debates over politics, language and legacy.
“David Greaves, who was there in 1972 aged 22, worked on the shoot as a cameraman under his father. …
“Duke Ellington himself was unwell and did not attend, but his sister Ruth was present. ‘There were four cameras, two crews circulating through the apartment catching conversations, these little moments between them,’ David said. ‘Mostly my father just let them freestyle, it was very fluid.’
“Among the film’s strengths is precisely that looseness. At one point, guests debate whether the term ‘Negro’ should be discarded in favor of ‘Afro-American.’ Elsewhere, they discuss Marcus Garvey and Langston Hughes and the global reverberations of anti-colonial struggle. Aaron Douglas reflects on jazz, telling the room: ‘It would be considered a revolution in relation to other music. It was not a revolution to us.’
“For David Greaves, those conversations feel strikingly current. ‘When they talk about whether to call themselves Black or Negro, that’s a discussion still happening now – you’ve got Black, African American, people of color. And then there is still this question of what the diaspora should do in relation to Africa.’ …
“The film also reminds viewers how recent America’s racial violence remains. David points to footage accompanying the anti-lynching poem ‘The Lynching,’ ending on a young white girl watching with what he calls ‘fiendish glee. … The US is not that far away from that time.’ …
“For him, the film arrives as Black history is once again being fought over in the US. … ‘They’ve been doing everything they can to erase the Black experience in America, even removing signage from park service sites. What this film does is show a group of wonderful people sitting around talking about a time 50 years ago, and about their own present. These giant intellectuals that the media didn’t even realize existed.’ …
“After William’s death, the material passed to his widow Louise, who continued working on it until her own death in 2023. David and Liani then took over, restoring and digitizing 60,000 feet of 16mm film. …
“When shaping the final cut, he followed one of his father’s principles: ‘My dad used to say if there’s something that affects you viscerally, go with it.’ …
“David, who has spent the past three decades publishing Our Time Press, a Brooklyn community newspaper focused on Black civic and cultural life, with his wife, Bernice Green, said he hoped to release the film in time for Greaves’ centenary in October, with retrospectives planned in New York and at the Barbican in London.
“ ‘My dad was appreciated by those who knew documentary film, but he didn’t have the acclaim that he has now,’ he said. ‘This film should cement him as a chronicler of the history of African Americans.’ ”
More at the Guardian, here.
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