In 1979, James Baldwin wrote a letter to his literary agent describing his next project, Remember This House. The book was to be a revolutionary, personal account of the lives and successive assassinations of three of his close friends—Medgar Evers, Malcolm X and Martin Luther King, Jr.
At the time of Baldwin’s death in 1987, he left behind only thirty completed pages of this manuscript.
Now, in his incendiary new documentary, master filmmaker Raoul Peck envisions the book James Baldwin never finished. The result is a radical, up-to-the-minute examination of race in America, using Baldwin’s original words and flood of rich archival material. I Am Not Your Negro is a journey into black history that connects the past of the Civil Rights movement to the present of #BlackLivesMatter.
The film is nominated for an Oscar Award in the Documentary (Feature) category and recently nominated for a NAACP Image Award for “Best Documentary”. The compelling narrative of questions black representation in Hollywood and beyond. And, ultimately, by confronting the deeper connections between the lives and assassination of these three leaders, Baldwin and Peck have produced a work that challenges the very definition of what America stands for.
Opening release for I Am Not Your Negro is on February 3. There is a companion book to this film Baldwin's word. In addition, there is an educational push—partnering with schools in opening cities—New York, Chicago and Atlanta. The production company has made a commitment to encourage students to learn more about Baldwin’s literary works by encouraging donors to sponsor free tickets for students to see the film in selected cities.
We spoke with filmmaker, Raoul Peck on the importance of James Baldwin’s works in this new era of activism and social awareness.
What compelled you to create a film based on this particular book and what you hoped the audience takes away from seeing it?
The man I am is due to a great part to James Baldwin. He helped me grow, he helped me structure myself. How do I bring it the generation today? The past 20 years, people have push Baldwin back. Not many people know about him--he's been in Europe. It's important now for the discussion. I knew there was some kind of urgency to bring him back.
Starting from there, I worked for a few years trying to find a proper form until I bumped into Remember this House. Those he wrote in order to make this incredible book, he never managed to write about these three men--Medgar Evers, Malcolm and Martin Luther King before they were 40. Although, Malcolm and Martin were enemies that was a violent torch, the other one was an activist. Both men came very close together towards the end of their life.
For me, once I got to this idea of the book, the film was there. To make a film that would be the essential Baldwin and at the same time, tell the story of these three men and what linked them together.
As a filmmaker, what was the timing of the film and the rise of Donald Trump and white nationalism. Do you think Baldwin would've been more shock of a Trump or Barack Obama as a Black president?
Baldwin would have not been shocked because he went through all of this throughout his life. Nothing could shock Baldwin. The harsh words he's telling us today is really the result of a whole life. His sharp analysis of this country is the most profound thing that you can hear about what America is. Don't forget, all of these words are all Baldwin's. I didn't write a single word for myself. All of these words were written over 45 years ago.
That's how strong they are. The way they are raising it today. That says something on how profound and fundamental they are. So, there is a lot blur and there is a lot of paradigm between forbidding us to see the reality today.
The civil rights movement was just moment, one era of the whole fight. We forgot about that, we got lazy. We thought we made it. They gave us monument, they gave us Black History month, they gave us MLK day. Martin Luther King was a rebel the last two years of his life. He has speeches that you can't today use because they make sure you can't have access to them. Malcolm X was the same.
Once he started traveling around the world, he understood that the race issue was a trap because it keeps you busy while they are still doing the business on your back.
Those two men were getting closer to each other. The next march to Washington was a march against poverty. Black or White---that's the thing we refuse to see. The main problem in this country is structural, it's about power. It's not just the race issue.
Police had been killing young Black men forever. The only difference is technology calls--today you can see it. You see the film, you see the footage of Selma, Al. There are the same--only police officers look like robo cops and they all have tanks. It's the same story again and again.
What was your understanding of his legacy and other parts of the African Diaspora?
He's virtually important. He doesn't just analyze who we are as Black people whether in America or elsewhere. What he does is deconstruct the machine--the Hollywood machine. When I was a young boy in Haiti, I would watch American movies. Indians and cowboys, John Wayne, Doris Day--this allow me to shape my imagination. As it shaped the imagination of many boys and girls throughout the world who is not American. But, that got a piece of that American and taught themselves, the way Hollywood showed them.
It took a long time before you could see Harry Belafonte or Sidney Poitier on the street. Even then, you discovered through Baldwin there was a part of the story you weren't told. I remember seeing Sidney when I was a young boy in 'Guess Who's Coming to Dinner?' I was of course very proud because I could see a handsome young Black man who could speak English well, who is an intellectual who even gets the white girl. But, at some point I I felt something was wrong.
At the time, I couldn't exactly put my finger on it. Baldwin opened up and explained it to me. In fact, they are using Sidney against us. They are making him play a role that we--the majority could never be. Unless you can be Sidney, you only can 'shut up'. Stay in your lane. That's why Baldwin is important. He helps us deconstruct the whole machine.
How much access did you have to some of the families of MLK, Malcolm X and Medgar Evers?
I did not really need to. I did reach out to some of Malcolm X's daughters, and MLK's and Medgar Ever's family because we were looking for features. Other than that, the most important part is what to have access to the Baldwin Estate--the incredible aspect of this film. Without having total access this film would've been impossible. Gloria Smart who allowed me to make this film in this condition was exceptional without any pressure. To give away rights like this for a whole 10 years is unprecedented.
The main part of the project was to bring Baldwin's film to the forefront. To make sure his legacy would be respected. The place that he should have in this country should be preserved.
Me and the filmmaker had to be the background and I choose the role of the messenger. It was not about me, it was about Baldwin and his work.
Originally Published by The Chicago Defender January 2017
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