Freeman l'agente di Harlem

Of course the first thing people talk about is this film's politics- and they are some of the most militant in any film to ever get fairly mainstream, American distribution. I think it could only have played mainstream cinemas in the early 1970s. But the politics are far from the only thing that is remarkable about this work. I don't know how to label it with the vocabulary of genre- its a thing unto itself. A completely unique narrative tone that oscillates between satire, legitimate, hard-nosed agit-prop and even moments of (I think) self-deprecation. Its at once assertive and yet it questions everything, even its own place as an object of the culture industry. As legitimate as its Nationalist message is, its still only a message, and in this way the work is as much an exploitation of Black Rage as it is a vehicle for it. I think the filmmakers understand this, and want to live up to it. Because it is not ultimately a Messianic narrative. The protagonist only brings a message of unity and revolt and suggests, through the narrative, a possible course of study and action. The protagonist does not replace, or even lead, the masses. He is left to narrative space, and he can only toast the potential revolutionary actors, the audience.

A big surprise! I wasn't expecting anything as intelligent or exciting as this. More craft than one would expect of a low budget outing from largely first timers and it barely puts a foot wrong. None of the glam of the more obvious candidates for best black film, this just gets on and does it's job. This being the film's theme in many ways - just do it! There are many, like the writer on the DVD interview, who wonder why so little has been achieved in the US by this community and this marvellous movie is certainly food for thought for many around the world whether they be the oppressed or the oppressor who cannot figure out how the balance of power never seems to change. A really must see film.

I viewed this film in a Pan African Studies class at California State University, Northridge in 1993. Professor James Dennis who was a Civil Rights activist who made the Mississippi Freedom Rides told us this was the best film about and by African-Americans, and I agree with him wholeheartedly! I would like to get this video and show it in the classes I teach in history. This film was ahead of its time. Sam Greenelee is a very good writer and captures the essence of the struggle for African-Americans.

The Spook Who Sat by the Door is a cult classic and named one of the most influential black films of the 70s (by Torriano Berry and Venise Berry in their book The 50 most influential black films). This film holds this title with good reason. The film begins with a senator facing the prospect of losing an election without the pivotal black vote. To win favor he decided to charge the CIA with racism since they have no black agents. The CIA agrees, although those in charge of the training do all that is possible to kick all of the recruits out. Only one survives, Dan Freeman. Freeman finds himself the token black, he is often called to show visitors what progress the CIA is making in race relations, before continuing his menial tasks of copying papers and giving tours. Though he plays his role, one gets the impression he is planning something big. After a few years of service with the CIA he returns home to Chicago and in his capacity as a social worker he organizes local gangs using his knowledge and training from the CIA. Without spoiling the rest of the film there is the classic struggle about how to approach change through the system or to over throw? This is represented by Freeman and a former friend who is now police chief in Chicago. Included is some of the socio-political issues that made the 60s and 70s what it was, making this film one that stands out in a decade of films high on action and low on plot. Taking budget issues into consideration and what director Ivan Dixon had to do to get the film made, it is well worth watching (even again).

Very intelligent and sublimely scripted film that stars Larry Cook in a truly powerful role. Cook plays Dan Freeman, the first CIA-recruit since the start of the agency. After an intense training and a mind-strong career of 5 years, Freeman returns to the ghetto where he grew up and mobilizes the future-less black youth to stand up for themselves and begin a violent revolution against the white authorities. The message and criticism in the screenplay is so well-elaborated because Sam Greenlee adapted it from his own novel. True, the film contains a little too much talking and some of the sentimental speeches are hard to swallow (like Freeman's supposedly heart-breaking tale of how he taught his grandmother to read), but most of the criticism against America are quite thought-provoking, daring and way ahead of their time. Around the hour, more action kicks in and we're treated to several convincing riot-sequences and atmospheric images of the ghetto under siege. But, perhaps the most fascinating aspect about "The Spook who sat by the Door" is the psychological battle inside the protagonist's head, resulting in a dazzling end-scene. Knowing the controversy a film like "New Jack City" caused, I'm sure that this movie would provoke far worse situations when re-released properly.

It is claimed that this movie was "lost" for over 30 years so it got honored by an immense cult-status. I can only recommend for you to see it yourself.