“I’ve just seen one of the greatest talking pictures, one of the greatest cinematic works of creative nonfiction, that I’ve ever seen.” That’s Richard Brody, writing in The New Yorker, about “Once Upon a Time in Harlem.” He goes on to say, “the talk is sublime—vivid recollections, scintillating wit, sparkling rhetoric, profound reflections, rueful reckonings, the creative power of literary art on the wing—all amid an air of hard-fought camaraderie.” The sensation for us, sitting in the third row, was as if we had ingested a stimulant. The film put the audience in Duke Ellington’s apartment on Riverside Drive, and this crowd was entirely engaged, applauding and laughing along with dialogue that is as relevant today as it was in 1972.
The filmmaker William Greaves sent invitations to some two dozen guests whom he described as the “living luminaries of the Harlem Renaissance.” The painters Romare Bearden, Aaron Douglas, Ernest Crichlow and Richard Bruce Nugent; the photographer James Van Der Zee; the writers Arna Bontemps, George Schuyler, Richard B. Moore and Ida Mae Cullen; the musicians Eubie Blake and Noble Sissle; and historians Gerri Major, Nathan Huggins and John Henrik Clarke made for a stimulating mix. Ellington was apparently ill and couldn’t attend the party in his own house, but we hear his “Black and Tan Fantasy” in the film.
The so-called Renaissance was, in part, the recognition of Black creativity, and it coincided with Marcus Garvey’s 1920 convention in Harlem, the 1921 musical “Shuffle Along,” with music by Blake and lyrics by Noble Sissle (both of whom are in this film), and Langston Hughes’ poem “The Negro Speaks of Rivers,” which appeared in The Crisis. They reminisce but quickly show how alive they still are as talk turns to racism, lynchings, the massacres in Tulsa, East St. Louis and Arkansas, with firsthand tales of the Ku Klux Klan.
They recite poetry from memory. Who does that anymore? They argue, amiably—a lost art—over the teachings of Haile Selassie and Marcus Garvey.
The movie didn’t bring me to tears, but the discussion in Little Theatre 1 afterward did. People spoke movingly about growing up in Harlem. A young woman commented on how close the people in the film sat together, how they allowed others to express themselves, how they could disagree with one another, how no one in the film was distracted by their phone. And the universal consensus was how thought-provoking the dialogue was, how important the film is.
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