Tracks the history of Black cinema, focused mainly on the '70s, with archival and new interviews with many of the key players from the era.Tracks the history of Black cinema, focused mainly on the '70s, with archival and new interviews with many of the key players from the era.Tracks the history of Black cinema, focused mainly on the '70s, with archival and new interviews with many of the key players from the era.
- Awards
- 4 nominations total
- Narrator
- (voice)
- Self
- (as Louise Archambault Greaves)
- Self
- (as Jim Signorelli)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Basically, the issue here is that the film maker has decided that he wants to cover a LOT of Black films, which forces him to deal with some of them very quickly. One of the seven previous viewers attributes this to a desire on Mitchell's part to show off how many Black films he has seen, but that was not my impression. Rather, it's clear that he is fascinated with a lot of these movies, and intent on sharing his fascination and knowledge with us. That's hard to do in a movie, though, unlike in a book. Mitchell might have thought about doing what Ken Burns has done with some of his documentaries: focus on the most telling things in the movies themselves, and then provide the rest of the information in an accompanying picture book.
Books are good for annotated lists. Movies, not so much.
On the hand, because Mitchell sometimes seems like he is trying to be encyclopedic, some of the seven previous reviewers have criticized him for leaving out X or Y Black film or star. A few have a point, but others didn't pay attention. One complained that Mitchell left out James Brown, for example, which is not true. There is a very striking scene of Brown standing shirtless in a doorway, in all the glory of his virile, muscular, and very angry masculinity. It would have been nice to learn if he was offered roles other than those, but that would have taken more time than Mitchell had in this movie.
The same is true of some of the other previous criticism. Those viewers just didn't watch closely enough.
My take on this is that it was interesting for what it offered, but that it often left me wishing for more than just a tidbit on a given interesting movie. So, I guess, I would have preferred less encyclopedic coverage and more in-depth analysis of fewer movies.
On the other hand, I don't regret having seen any of what I saw.
Mitchell clearly knows this material. He should definitely treat us to an accompanying illustrated book, where he is not limited by time.
- richard-1787
- Dec 19, 2022
- Permalink
Storyline
Did you know
- GoofsWhile discussing The Shawshank Redemption (1994), the narrator identifies Rita Hayworth as white. Hayworth's real name was Margarita Carmen Cansino, and she was of Romani descent (an Indo-Aryan ethnic group, also known by the term "Gypsies"). She had her name changed, and appearance slightly altered, to aid her career. Prior to that, as Rita Cansino, she had been limited to smaller exotic roles.
On a related note, towards the end of The Shawshank Redemption, Andy has replaced the poster of Rita Hayworth with a poster of Raquel Welch. Welch was born Jo Raquel Tejada, but went by "Raquel Welch" for the sake of her career (to avoid getting trapped into roles available to Latinas). She did not acknowledge her true heritage until she worked on American Family (2002).
- Quotes
Harry Belafonte: Not one picture that I turned down did I regret not doing. I didn't resent any of them. I'm glad others got an opportunity and went off and did it, but my initial... First and foremost, I'm an artist. I'm an actor. And I came out of a school with Marlon Brando, Walter Matthau, Rod Steiger, Tony Curtis, with a director that gave us no quarter. I'm not gonna do anything other than what I think is worthy of being done. And fortunately for me, I was a runaway success in the world at large because I had a globe so passionately approving of my presence in their midst that nobody could dismiss the fact that that thing on the horizon called Belafonte could really not be fucked with. Because anytime anybody came up and gave me an ultimatum, I said, "Fuck you. I'm going to Paris. I'll probably live there if I like, but I... I have a destination that answers your denial of what I could be."
- ConnectionsFeatures A Fool and His Money (1912)
- How long is Is That Black Enough for You?!??Powered by Alexa
Details
- Release date
- Country of origin
- Official site
- Language
- Also known as
- هل يكفيكم هذا السواد؟!؟
- Production companies
- See more company credits at IMDbPro
- Runtime2 hours 15 minutes
- Color
- Sound mix
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