Black Power

Set in Cleveland in the days after Martin Luther King's funeral, this gorgeous film interweaves several stories about what seems like typical Black urban America. There are people struggling to survive, there are revolutionaries (this is 1968), and there is the leading man, Tank, who is troubled by failure and drink, and by King's death. So crime in the name of racial justice collides with ordinary people who have their own kind of individual justice, or just decency, but strained and compromised. In a way, this is about life, ordinary life, except the times are not ordinary at all, and the drama of having a social cause elevates and distorts ordinary things. The director, Jules Dassin, is known for a couple or three great noirs, and maybe that suits the mood here, twenty years later. But the big credit is just him taking on a movie with this kind of topical meaning, and with sincerity. The political meeting in the center of movie is a bit clichéd no doubt, but it feels close enough to get the point across. The story has classic roots, in a weird way-it's based on a 1925 book, "The Informer," about the Irish resistance. It was made into a British (ironically) film in 1929, and then a more famous (and highly regarded) 1935 John Ford film. This tranferrance to the Black Revolution, with parallels to the Black Panthers in their insistence that guns are necessary to real revolution, is strong and interesting, and it comes straight from the period, without the filters and aesthetic distance that a later film would have not avoided. I have to say this is a beautiful film. Almost every scene is at night, and the stark interiors and dramatic exteriors, with layers of light and rain and sweat (and a notable early scene in the shower) make it really sizzle. Cinematographer Boris Kaufman really gets it. It's vivid just on visual terms (including a 720 degree camera spin after a shootout, another at the end). He shot "On the Waterfront" and "Baby Doll" and "Long Day's Journey into Night" for just three classics. However, it isn't uniformly thoughtful, and an attempt at some humorous surreal commentary at a funhouse is both fun and awkward. This is followed by a born-again street preacher who might seem believable to some but it seems more symbolic, and pushy. But then, this is followed a scene of family and friends in a big, quiet meeting where Tank arrives drunk, and the editing and filming seems to compare to the careful head shots in Dreyer's "Passion of Joan of Arc." Seriously. This is an almost entirely black cast, and set in squalid, cramped inner city situations. Look for fabulous performances by Ruby Dee (as a mother filled with dignity), and Rosco Lee Jones (as a homosexual), in addition to Tank, played by Julian Mayfield. For those who like blaxploitation films, this is more sincere and yet still filled with the exaggerations and details of urban Black America from that same era (or actually a few years before most of them).

I saw "Up Tight" yesterday (3/25/08) at the Cleveland Cinematheque. It is an interesting, but violent, story about a person who "snitched" on a criminal. The 1968-vintage scenes from Cleveland, ranging from downtown to the steel mills to a post-riot Hough, as well as other east side inner city scenes, is both historic and breathtaking. As a lifelong Clevelander, I enjoyed comparing the 1968-vintage east side scenes to what they look like today, especially the scene at East 55th and Woodland, which is desolate today compared to how it looked in 1968-the Cleveland Trust bank building is now a vacant lot, the Shell station is currently on its third rebuilding, the Sohio station now the site of a post office, the "Saveway" gas station...which advertised 28.9 cent gas!!!...now the site of a fish and chicken restaurant-that was once a Burger King...so many changes over 40 years. Seeing "Tank" going out on the town, buying everyone rounds at the bar with the stolen money, then staggering drunk all over Cleveland broke, makes this film a must-see. I also liked the scene where guns were stolen from a warehouse, with the old-geezer security guard chasing them, then falling. I also liked the scenes, as well as the old pinball machines and shoot-em-up games, at that arcade in the film, which, I believe, was once at East 105th and Euclid. A lot of easily recognizable locations if you are a lifelong Clevelander, or have once lived in the area around the time this film was shot. Sadly, this film was rarely seen since its December, 1968 theatrical release...I would love to see Paramount release this piece of Cleveland cinematic history to DVD someday. I highly recommend it.

I was a young man of 30 years when I went to see this film. At the time I thought that the acting was fine and the theme of the movie was brave. The choice of actors were superb. The nakedness of emotion and tenderness of soul pervades this film on a gut level that speaks to the maverick sense that inhabits us all. Over the years hence because of the ways of the world it has stuck in my mind and gained strength. Even though it is a remake of the 1935 film, "The Informer" with Victor McLaglen, I think that political science majors may get more out of this movie than the regular movie buff. I have two copies of the musical sound track by Booker T & the MGs and I have found it to be a powerhouse in rendering this film.

One thing about me and my love of movies is that I very rarely prefer remakes. However, this movie is an exception--a film far superior than the original. Now that might surprise you, as Victor McLaglen received the Oscar for Best Actor AND the great John Ford the Oscar for Best Director. Yet, I STILL liked the remake better. Much of it is that "The Informer" has not aged well and is dated. In particular, McLaglen's performance seems over-the-top--very, very unsubtle indeed. Also, while it's hard to imagine someone making a film better than John Ford, it's not as surprising when you learn that it's Jules Dassin--one of the best film directors of the 20th century but whose career was severely affected by the Red Scare--when he was forced to move to Europe and managed to STILL keep making great films.

Dassin decided to remake the story and set it in black America--in 1968. The film was VERY timely, and is set just after the murder of Martin Luther King--a time when black men and women were understandably talking about revolution. While the term 'Black Panthers' was never used in the film, clearly the film is intended to be about them...and their weakest link, a sad and worthless individual named Tank. Also, since time had past since Dassin's exodus from Hollywood, he was now able to return to the States to make a film and this one was made in Cleveland. This locale was great--adding to the realism. In addition, while most of the actors are unknowns (apart from folks like Roscoe Lee Browne and Ruby Dee), they did a great job--and Dassin got the most from them. Overall, a very hard-hitting and enjoyable film--and a nice update to the original.

...this was actually a great movie...it was made during a tumultuous time in urban black America and it reflected the conflict...outstanding performances from max julien (don't want to even HEAR about the mack) this was a real blood and soul performance..raymond st. Jacques, ruby dee, dick williams, frank silvera, roscoe lee brown...this was a tremendous movie with a heart and soul you just don't see...if you ever, EVER, get a chance to see this....do it. There would not be many movies that combined intelligence and substance for numerous black actors and actresses in the same setting. Way ahead of it's time. These folks were truly inspired, hats off to the director (Jules Dassen) for creating a lasting work..