A Lost Gathering, Found: “Once Upon a Time in Harlem”
Fifty years ago, in 1974, filmmaker William Greaves captured a remarkable gathering of luminaries from the Harlem Renaissance. Now, his son david Greaves has shaped that footage into “Once Upon a Time in Harlem,” a documentary that transcends mere historical record. The film isn’t simply a window into the past; it’s a bridge to a time beyond living memory, imbued with the weight of decades of cultural and social aftermath. The result is a mesmerizing and deeply insightful exploration of legacy, creativity, and the enduring spirit of a pivotal era.
From Unused Footage to Intergenerational Legacy
The footage, originally shot for Greaves’s 1974 film “From These Roots,” was intended as a retrospective on the Harlem Renaissance. Though,William Greaves’s illness prevented him from completing the project during his lifetime. After his death in 2014 at the age of 87 The New York Times, his widow, Louise Greaves, continued the work until her passing in 2023 at the age of 90. Now,David Greaves,along with his daughter Liani Greaves as producer,has brought the vision to fruition,supported by grants and community funding.
The filmmakers wisely adopt a minimalist approach, adding only nametags and archival photographs to contextualize the discussions. The film unfolds organically, mirroring the progression of the original party – from polite introductions and nostalgic reminiscences to passionate debates. These debates included discussions about the appropriateness of using the term “negro” versus “Afro-American,” reflecting the evolving language and consciousness of the time. William Greaves occasionally interjects with gentle prompts, such as asking attendees about the revolutionary impact of jazz music.
A Who’s Who of the Harlem Renaissance
“once Upon a Time in Harlem” features a constellation of influential figures who shaped the cultural landscape of the era. Among those present are musicians Eubie blake and Noble Sissle, whose 1921 musical “Shuffle Along” broke barriers as one of the first all-Black broadway productions. Historians Nathan Huggins and John Henrik Clarke, poets Arna Bontemps and Frank Horne (uncle of Lena Horne), actors leigh Whipper and Irvin C. Miller, photographer James Van Der Zee, librarians Regina Anderson and Jean Blackwell Hutson, society page editor Gerri Major, and Ida Mae Cullen, the widow of poet Countee Cullen, all contribute their perspectives.
The participants reflect on figures like Marcus Garvey, the controversial Pan-Africanist, and Langston Hughes, who had recently passed away. Notably, some attendees, like Whipper, had parents who were formerly enslaved, highlighting the direct link between the artistic flourishing of the Harlem Renaissance and the struggle for liberation.
Grappling with the Past and Present
The film’s power lies in its ability to capture these individuals grappling with the meaning of their experiences, both then and now. They debate the very definition of the Harlem Renaissance – was it a true “renaissance” or simply an “awakening”? – and consider its lasting impact. Major asserts that the era marked the first time Black people were widely recognized as creative individuals, while Bontemps describes it as a “prism” of the Black experience. A central question emerges: did the cultural momentum of the Harlem Renaissance fade, or did it continue to resonate through subsequent generations?
Huggins argues that the Harlem Renaissance “lives with everybody,” a sentiment powerfully reinforced by the film itself. “once Upon a Time in Harlem” serves as a vital testament to a transformative period, ensuring that the voices and legacies of its participants continue to inspire and inform.
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