Dez Minutos de Vida

This merely gives us a glimpse into Harlem Club scene of the 20's and 30's. We get a chance to see some dancing, some comedy, and other acts that would have otherwise been lost. As far as any plot or any continuity in a film, it is missing in this effort. There is very little here. The movie is mostly people sitting in the club, talking. Movie producers putting the moves on the young dancers and lying to them about their futures. There is an ongoing threat, some storytelling, but mostly, it's a dull connection among a group of numbers being performed at the club. Merely a period piece and a piece of black history.

Laura Bowman had an extremely distinguished career. She was hailed as "the Negro Ethel Barrymore", performed at Buckingham Palace before Edward VII and appeared in theaters all over Europe. In 1916 she joined New York's first black dramatic company, the Lafayette Players in Harlem and appeared in over 500 productions. Although she didn't make many films, she always made an impression - whether as a conjure woman in "Drums O'Voodoo" (1934) or as a mad doctor in "Son of Ingagi" (1939).

She was definitely the most prestigious member in the cast of "Ten Minutes to Live", hence her prominent billing. She played the elderly woman in the very first scene, who tells the lecherous film maker where to find Ida. There are two Idas - I'm not sure which is which but they are both singers in the Libya Club.

Oscar Micheaux turned out four movies in 1932, and Ten Minutes To Live is one of them. It is comprised of two stories stuck together, and even so it doesn't come out to a full hour. In the first half a night club dancer is solicited for a movie role, and for more than that; the second half concerns the aftermath; it's shot wild, with sound effects and occasional voices added.

Parts of it are interesting. There's a fairly long sequence near the beginning set in a night club in which a couple of songs are sung, a couple of comics do a routine that reeks of minstrel shows, and a line of dancers perform. According to the IMDb trivia for this movie, they are the dancers for the Cotton Club, and when they're moving to "Sweet Georgia Brown" and "Digga Digga Do" I can believe it.

The silent segments are actually better than the ones with sound! Even though there are telegrams and letters to substitute for silent titles, at least one is spared the poor line readings of Micheaux's dialogue. Still, I would expect the average movie goer, unversed in silent film techniques, to find it tough going.

First, this all-black 1930's production is admittedly unique. Extended dance sequences, vintage music, vaudeville and some unusual location camera work provide an invaluable look at a time in black history that you probably haven't seen much coverage of before. On the downside, the acting is junior high caliber and the plot is equally half-baked and thin. Certainly forward thinking in treating some blacks in the movie as thoughtful and sensitive beings at a time when some in America weren't on board with the concept.

Unfortunately, it's just not very entertaining and has the look and feel of a silent movie that they dubbed with sound and dialogue sequences later to take advantage of the "talkie craze." If you're a student of black history, probably of minor interest. If you were led to believe this is a noirish black drama (as I was), you're probably better off going with DEVIL WITH A BLUE DRESS, HUSTLE AND FLOW or a Spike Lee joint.

Like an episode of 'Police Squad' this film immediately establishes the level of incoherence it intends to maintain throughout by announcing in its main title that it's drawn "from three short stories" before just moments later posting a Producers Note listing the two "short stories of Negro night life in Harlem" from which it says its been adapted.

Having made some reasonably competent silent films, poor Oscar Micheaux is plainly finding sound a serious millstone around his neck, since the dialogue is often almost inaudible and he goes to impressive lengths to get round this obstacle with extensive use of captions and notes; even making one of the characters a deaf mute so he can write down his dialogue rather than speak it.

No matter. It's only 58 minutes long, is full of wonderful period detail and the frequent shot mismatches, captions like "WITHIN THE HOUR" to propel the narrative and the incongruous use of Beethoven's 5th on the soundtrack give it a certain 'nouvelle vague' vitality.