THE STORY – A decade post-death, filmmaker William Greaves reveals his final work: footage of a 1972 gathering he arranged with Harlem Renaissance legends, which he deemed his most significant capture.
THE CAST – N/A
THE TEAM – William Greaves & David Greaves (Directors)
THE RUNNING TIME – 100 Minutes
“If you could travel back in time to any point in history, where would you go?” That’s always been a fun hypothetical to ponder, an answer which often reveals a lot about an individual’s personality and interests. It’s a response that can say a lot about what historical examinations they value and what curiosities they would like explored.
However, I’ve always considered that question an odd one for any Black person to answer. It’s not due to any lack of imagination, because any point can be filled with intriguing ventures. Unfortunately, a hostile environment has been so omnipresent that there aren’t many opportunities to explore it and feel a sense of safety. That isn’t to say there weren’t havens where communities could thrive, but finding a moment to revel in such luxuries often comes with an unimaginable danger. Yet, there’s so much to discover from that time that’s necessary to analyze.
It’s what makes a time capsule like “Once Upon a Time in Harlem” so thrilling. A project conceived through the lens of such importance, gathering voices that speak of a distant past that become resonant to a vibrant future. We can glean vivid experiences as if we were there. It’s been a long-gestating project that’s finally unveiled, presenting an utterly spellbinding portrait of intellectual discussions with riveting commentary.
In 1972, notable documentarian William Greaves had already established himself as a filmmaker determined to showcase the Black experience in America. His works consistently highlighted the political and cultural movements within the community, and now he had in mind to attempt a monumental achievement. Gathered at the home of Duke Ellington, Greaves invited dozens of towering figures from the Harlem Renaissance to capture their many conversations. Huddled together in the spacious but crowded New York apartment, several living legends of the time have congregated to collaborate in heated exchanges.
Often, the topics are fond reminiscences about the great art created during such a vibrant and evolving period. Some are contentious debates over the merits of certain participants and the true thematic value of such a significant moment for Black culture. The dialogue is lively, but it is also a compelling display of great intellectual minds coming together to preserve provocative stories that needed to be preserved.
There is a great sense of relief at finally seeing this project completed, which Greaves had worked on until he died in 2014. It was completed with the assistance of his son, David, who was also there as a cameraman that day. What ends up being rendered is a magnificent time capsule, revealing footage that, at the time, would have been a contemporary portrait, which has now become archival material in the decades that have passed. However, the timing makes these old conversations feel so alive and vibrant. You are completely immersed within these rooms as a long stretch of history is being examined. It’s as if you’ve pulled up a chair yourself just to be regaled by the stories and arguments from these masterful cultural architects, and it’s nothing short of captivating.
Greaves’s methods are never intrusive, probably helped by the fact that these artists and intellectuals all clamour to have their voices heard. It’s a bit of an organizational challenge to adhere to varying topics at hand. Like any party, the subject of one discourse can quickly move into another, but the tangents feel true to what such an event would feel like. Fortunately, the subjects are so stimulating that you lean in to keep up with every beat.
This dynamic is sometimes interrupted by cutaways to single interviews with various individuals. They’ll often be used as a method to more explicitly mark a novel topic being introduced, which is a necessary structure. It can disrupt the flow of information, though, as the intense overlapping voices of the party can suddenly derail into the quiet recollections of a single person. The mood shift isn’t unwarranted, but the preceding conversations are so free-flowing that the cut to a more traditional documentary format can feel jarring. At the same time, it’s hard to complain about it much when it allows for a more intimate setting to emerge and gives these people breathing room to divulge even more fascinating details. There is still something treasured about a single person giving a more in-depth response to a direct question. The analysis they provide on important figures from the past, intercut between even older footage and photographs, is no less a marvel to behold.
All these endearing personalities are what ultimately make this piece so engrossing. Greaves knew this already, as the camera just needed to start rolling, and the audience was immediately enraptured. There’s an incredible ease one feels listening to painter Richard Bruce Nugent recall spending time with his fellow artists and the joyous work they produced. Librarian Regina Anderson frequently recalls the writers she would promote and the bohemian conferences held in homes to exchange ideas about creativity. Leigh Whipper’s testimonials, dating back to vaudeville days, detail a wealth of artistic evolution. They represent the movement’s uplift, while other publishers and scholars bring their own critical perspectives.
Several conversations underscore the Harlem Renaissance not only from a cultural and artistic perspective, but also from a political one. Art is indeed a form of political speech, and one tied to identity will always lead to divisive opinions. It’s enlightening to hear diverse viewpoints on revered leaders like Marcus Garvey from those with firsthand experience. The debate between labels of “Black vs. negro” is one that many a household will be familiar with from previous generations, and to see it play out is another reminder of the complex opinions this community holds. Watching them being debated by such knowledgeable people makes them even more enticing.
The first thrill you get with “Once Upon a Time in Harlem” is just reveling in all the details of the period. There is a nostalgic appeal about looking back at this group, the same feeling elicited from a vintage book of photographs that recalls the wondrous dynamics that erupted when these minds came together. The textures of the walls, the hue of the furniture, and the patterns of the decor are all evocative of a specific time and place. Within this framework is an endearing collection of storytellers with intelligent tales and gripping insights into a period of great revolution.
We look back at a fifty-year document of people recalling the lively events from nearly the same timeframe. There’s a century worth of experiences packed into this room to glean from, and nearly all of it is an enthralling exercise. Greaves once remarked that this was his most significant capture. It’s hard not to believe what it offers. It is a privilege to be invited into the space of masters and hear about the experiences that have molded the community and made it prosper. Such a work deserves to be seen and admired for the achievement that it is.
