Notre agent de Harlem

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.

I have seen this film on several occasions ( though not lately), have spoken to its author , and have known several of its cast members, the most notable of which would be Lawrence Cook and Paula Kelly. For a time the film was withdrawn from circulation, though it was briefly brought back in a limited release in the late 1980s. It was made on a shoestring budget. The subject matter was so controversial that the then Mayor of Chicago would not allow it to be filmed in the city, which is where Greenlee had sought to film it. Gary, Indiana had to be the stage, instead. Despite the obvious budget ( and therefore technical) limitations--not to mention the dearth of then well known names--the film is highly effective. Many a movie patron who sat through it went home feeling somewhat--perhaps considerably--less secure about himself and the world around him. I loved the film.

This interesting drama hits dead on point for those of who dream of a better government and a better America .In the film ,a racist politician losing in the polls and fearing the loss of the so-called Negro vote decides to give the people a few crumbs off the table by allowing some black men to be recruited into the CIA. Certain under handed deals are made to insure none of these men will succeed ,however one guy makes it through all the rigorous training and educating. And in an incredible graduation scene (see it to believe it!)is congratulated for being the 1st of his race into the CIA. The films budgetary restraints are apparent throughout, but the entire cast deliver good performances most convincingly the main character.I won't spoil it suffice to say the guy gets to put all the training to very good use,as he resigns from the racist system and sets out to make real change for his community. I would give this 15*s

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.

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.