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Is That Black Enough for You?!?

  • 2022
  • A
  • 2 घं 15 मि
IMDb रेटिंग
7.2/10
1.7 हज़ार
आपकी रेटिंग
Is That Black Enough for You?!? (2022)
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.
trailer प्ले करें2:04
1 वीडियो
11 फ़ोटो
इतिहासडॉक्यूमेंट्री

ब्लैक सिनेमा के इतिहास को ट्रैक करता है, जो मुख्य रूप से 70 के दशक पर केंद्रित है, जिसमें उस युग के कई प्रमुख खिलाड़ियों के साथ अभिलेखीय और नए साक्षात्कार शामिल हैं.ब्लैक सिनेमा के इतिहास को ट्रैक करता है, जो मुख्य रूप से 70 के दशक पर केंद्रित है, जिसमें उस युग के कई प्रमुख खिलाड़ियों के साथ अभिलेखीय और नए साक्षात्कार शामिल हैं.ब्लैक सिनेमा के इतिहास को ट्रैक करता है, जो मुख्य रूप से 70 के दशक पर केंद्रित है, जिसमें उस युग के कई प्रमुख खिलाड़ियों के साथ अभिलेखीय और नए साक्षात्कार शामिल हैं.

  • निर्देशक
    • Elvis Mitchell
  • लेखक
    • Elvis Mitchell
  • स्टार
    • Elvis Mitchell
    • Margaret Avery
    • Harry Belafonte
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.2/10
    1.7 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Elvis Mitchell
    • लेखक
      • Elvis Mitchell
    • स्टार
      • Elvis Mitchell
      • Margaret Avery
      • Harry Belafonte
    • 13यूज़र समीक्षाएं
    • 26आलोचक समीक्षाएं
    • 83मेटास्कोर
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    • पुरस्कार
      • 4 कुल नामांकन

    वीडियो1

    Official Trailer
    Trailer 2:04
    Official Trailer

    फ़ोटो11

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    टॉप कलाकार19

    बदलाव करें
    Elvis Mitchell
    Elvis Mitchell
    • Narrator
    • (वॉइस)
    Margaret Avery
    Margaret Avery
    • Self
    Harry Belafonte
    Harry Belafonte
    • Self
    Charles Burnett
    Charles Burnett
    • Self
    Suzanne De Passe
    Suzanne De Passe
    • Self
    Antonio Fargas
    Antonio Fargas
    • Self
    Laurence Fishburne
    Laurence Fishburne
    • Self
    Sheila Frazier
    Sheila Frazier
    • Self
    Whoopi Goldberg
    Whoopi Goldberg
    • Self
    Louise Archambault
    • Self
    • (as Louise Archambault Greaves)
    Samuel L. Jackson
    Samuel L. Jackson
    • Self
    Stan Lathan
    Stan Lathan
    • Self
    Roscoe Orman
    Roscoe Orman
    • Self
    James Signorelli
    • Self
    • (as Jim Signorelli)
    Glynn Turman
    Glynn Turman
    • Self
    Mario Van Peebles
    Mario Van Peebles
    • Self
    Billy Dee Williams
    Billy Dee Williams
    • Self
    Zendaya
    Zendaya
    • Self
    • निर्देशक
      • Elvis Mitchell
    • लेखक
      • Elvis Mitchell
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं13

    7.21.6K
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    फ़ीचर्ड समीक्षाएं

    5imseeg

    Starts out interesting, but eventually peters out...

    This documentary starts out interesting with lots of historic facts about the earliest black movies that were made, with lots of interesting interviews by big Hollywood names like Samuel L Jackson, Whoopi Goldberg, Harry Bellafonte and Sidney Poitier.

    The bad: but after an hour this documentary veers of into all sorts of directions, becoming disjointed and long in the tooth.

    It is as if this director simply had no control over his urge to namedrop as many film classics as possible and then start analysing what was wrong with them.

    Recommended watch for the first hour, but I fear not many will stay focussed till the very end, because this documentary unfortunately peters out after the first hour.
    6helenahandbasket-93734

    Not Bad But Inaccuracies Abound

    There's a lot of truths in here, but an awful lot of assumptions made, which is supposed to be the antithesis of this.

    Lady Sings The Blues- I was young when my mom took me to see this in the theater. I was 8, but I was told this was an important movie of an historical figure that needed to be implanted into my young mind. I honestly don't recall the makeup of the audience but I do remember the seats being packed, and being angry at the end. My mother explained to me how important Billie was to music today, and how awful humanity can be to one another.

    That's a pretty heavy message to lay on an 8-year olds head, but the message was not lost on me. My point is, not every white person was avoiding important black films and during the 70s, racism was being addressed and a lot of white people were horrified. Growing up in and around Madison, WI, there were quite a few black children in my class, and it honestly never occurred to me that they were anything other than classmates, and some were my friends.

    As I grew, things like Roots, Blazing Saddles, Mahogany, Car Wash and stealing listens to my dad's Pryor and Red Foxx albums dot my youth and it wasn't ever presented as anything other than entertainment- my parents weren't 'white knighting' for black culture,!there was just pop culture and skin color had nothing to do with it.

    Now, make no mistake, I'm certainly not saying there was no racism, no ignorance, stupidity, but not everyone was a racist hilljack from Alabama- it just didn't occur to us to judge anyone by anything other than their character and fortitude.

    I find it a little odd that there's not a single reference to Roots- how does one discuss black film and dismiss out of hand this important contribution? I remember being a teen and seeing Richard Pryor and Gene Wilder in a few buddy movies, along with Gregory Hines and Billy Crystal- there was significant overlap in racial viewing, and bands mentioned like EWF, along with other funk bands like Commodores, Sly and the Family Stone, Rick James, etc that had soaring success with as many white fans as black.

    It's ironic that Poitier declined to be interviewed for this, and speaks volumes when the producers list includes conspicuously white names like Steven Soderbergh and David Fincher. I'm not sure what purpose is served by this doc, and what the intended consequences are- there's no amount of revisiting the issues that will change the outcomes, and the outcomes intended here aren't necessarily that of truthfulness, either. Billy Dee Williams had a significant impact on the genre of film, as did Sidney Poitier, Denzel Washington, Morgan Freeman, the list goes on and on.
    8richard-1787

    Fascinating and informative, but sometimes frustrating

    I watched this last night on Netflix, and found it often fascinating and informative, but sometimes frustrating, leaving me wanting to know more about Mitchell's views on certain films.

    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.
    8judas-55637

    The Blaxploitation Treatment

    If been an on and off listener (if I find the guest interesting) of The Treatment for way over a decade by now. So for a long time I've been aware that Elvis Mitchell is a very smart and thoughtful person. When I found out Mitchell did a documentary on Black Cinema I instantly watched it.

    The documentary mainly focuses on Blaxploitation movies of the 1970s, basically 1968-76, the introductory bit deals with movies before that time. Killer of Sheep and Symbiopsychotaxiplasm get special non-Blaxploitation mentions. I'm not sure I heard Blaxploitation discussed from an afro-american perspective before, certainly not to this extend. Like most people of my generation I learned of these films first from Tarantino. Who as Mitchell points out here got his start by putting dialogues common in black films into the mouth of his white actors. Which, as much as you might dislike that take, is true. And yes you want so say: But, Samuel L. Jackson... and I tell you: he is not in Reservoir Dogs. Now, is he? He is in this documentary though.

    Mitchell make quite a number of other interesting point throughout, highlights some of the forgotten pioneers and gives you a good overview of the film of that time. Unless you are easily offended by black view points and you are interested in movies, this is way worth your time. Does it at times makes points I disagree with. Sure, but I am an adult, I don't need people to agree with me 100% to find it interesting what they have to say. And yes sure it could have talked about more or other movies, but it already crammed a lot into it's run time.

    Ps. I read in another review here that is very telling that Sidney Poitier wasn't interviewed for this. No, it isn't. Poitier already quite sick by that time, do your f--ing research. Do you really think Poitier was not aware of the things Mitchell says about his career? I'm a white European and I was aware of them beforehand. Also, if you want to know why Roots isn't discussed, because this is about movies not TV.
    7Musicianmagic

    Interesting, Informative but misrepresentations abound

    This does cover black cinema from really the 1930's to 1980's. Everything outside of that is an afterthought at most.

    Unfortunately, there are two major problems with this documentary. First is it skips over a lot. If not completely skipping it only skims the surface of those films, performers and filmmakers. Some of which it can be argued are more important that a lot that was included. Often they opted to cover & present as more influential fairly obscure films (never even released on DVD) rather than more successful films. Still what it did cover was entertaining.

    Second, it made it sound like much of black cinema especially the 1960's to 1980's was only for black film goers. Some of these movies were successful because they also reached a white or other audience. Movies like Shaft, Coffey & others they mentioned were simply excellent movies with excellent performances, period. Funny they kind of mention that Motown music was only for black audience. Ridiculous. Even the Beatles recorded a couple of Motown songs.

    I will rate this 7 out of 10, mainly for being entertaining. Plus I did learn about some films I've never heard of.

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    • गूफ़
      While discussing द शौशैंक रिडेम्प्शन (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).
    • भाव

      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."

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