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Elvis Mitchell’s Netflix doc “Is That Black Sufficient for You?!?”

Now on Netflix, the invigorating documentary “Is That Black Sufficient for You?!?” borrows its title from a line within the 1970 caper “Cotton Involves Harlem.” That film was no spotlight of the cultural revolution afoot. However for one particularly wealthy decade, 1968-1978, Black illustration lastly bought a foot within the door of a mighty white movie trade. Tales of multiple type of Black picture and expertise, independently made after which, as a result of there was cash in it, mainstream and studio-financed, discovered their manner into theaters. That is critical-writer-director-host Elvis Mitchell’s love letter to that decade.

It tells a collective story of long-frustrated and marginalized expertise lastly getting some breaks. Most of the key gamers have been well-established (Sidney Poitier, Harry Belafonte), others youthful and fewer polished. Many, too, have been dazzling and distinctive, gone far too quickly (Diana Sands at 39, Rupert Crosse at 45).

The Netflix challenge, produced by, amongst others, Steven Soderbergh and David Fincher, finds Mitchell talking on to movies that helped form his childhood, maturity and vocations. He is particularly good with regards to the deathless, peerless theme songs and soundtracks related to all the things from “Shaft” to “Superfly.”

Mitchell would not even attempt to stick inside his chosen 10 years. In “Is That Black Sufficient For You?!?,” Samuel L. Jackson, amongst others, speaks of rising up watching previous films that includes bit gamers and occasional sidekicks like Willie Greatest, doing their caricatured, subservient, humiliating factor in Bob Hope films . But these actors bought Jackson eager about appearing for a residing. And maybe dreaming of higher alternatives.

Shrewdly edited and constructed for velocity, the documentary glances on the legacy of the pioneering silent and sound filmmaker Oscar Micheaux; the mid-Twentieth century breakthroughs for Poitier and Belafonte; and on seminal early ’60s indies corresponding to “Nothing However a Man.” By 1968, as Mitchell factors out, white singer Petula Clark, on her TV particular, touched the arm of Black visitor Belafonte. The ensuing outcry was not small. Meantime, the streets have been on hearth and the assassinations of Martin Luther King Jr. and Robert F. Kennedy set the needle for America’s political future.

Hollywood responded with greater than the standard, but additionally with a threat or two that opened the door somewhat wider. Low-budget, high-return hits corresponding to “Cotton Involves Harlem,” “Shaft,” “Superfly” (all hail the Curtis Mayfield rating) and so many extra meant the instances have been altering. All the identical, says Mitchell in voiceover, the white-run trade meant that “Black success in media was typically handled because the equal of discovering a $100 invoice on the subway—a non-repeatable phenomenon.”

Later, Mitchell crystallizes a perspective I discover each succinct and provocative, a brand new manner to take a look at ’70s filmmaking in all its downbeat, post-Watergate rumination. Whereas white males (Gene Hackman chief amongst them) revealed in moody, bittersweet research in stasis and despair, Mitchell argues that “Black movies redeemed the perfect of heroic protagonists” in “Shaft,” “Coffy” and so many extra. Then got here “The Sting” and “Jaws,” amongst others, to reclaim completely satisfied endings for the white guys. Additionally, “Rocky.” Peculiarly, Mitchell would not even hassle to take care of “Star Wars,” which modified all the things within the trade a 12 months later. And never for the higher. Effectively, that is for one more challenge, ideally an unauthorized one.

If nothing else, Mitchell’s fluid, conversational doc ought to get a number of extra eyeballs on historic markers eternally in want of latest champions, such because the one-of-a-kind freak-out “Symbiopsychotaxiplasm: Take One” (1968). Or Charles Burnett’s delicate 1977 basic, “Killer of Sheep,” filmed on the Los Angeles streets of Burnett’s Watts panorama. “A poet discovering magnificence in his personal neighborhood” is how Mitchell phrases it, simply so. His celebration of those movies is critically entertaining.

“Is That Black Sufficient for You?!?” — 3.5 stars (out of 4)

MPAA score: R (for nudity, some sexual content material, language, violence and drug materials)

Working time: 2:15

Tips on how to watch: Now streaming on Netflix.

Michael Phillips is a Tribune critic.

Twitter @phillipstribune

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