The one thing anyone could talk about at last night’s New York film critics was Harry Belafonte’s speech to Steve McQueen. It deserves to be separate from the mischegoss of Armond White’s baby tantrum but that was the other thing people were talking about and this morning, the headlines are conjoined twins. But what Belafonte said should not be forgotten.
… The power of cinema is an uncontainable thing and it’s truly remarkable, in its capacity for emotional evolution. When I was first watching the world of cinema, there was a film that stunned the world, with all its aspects and art form. They did a lot, at that time. The film was done by D.W. Griffith, and it was called The Birth of a Nation, and it talked about America’s story, its identity, and its place in the universe of nations. And that film depicted the struggles of this country with passion and power and great human abuse. Its depiction of black people was carried with great cruelty. And the power of cinema styled this nation, after the release of the film, to riot and to pillage and to burn and to murder black citizens. The power of film.
12 Year’s a Slave’s place in cinema history should never be diminished. Its place in the Oscar race ought to be doubly noted and bolded. That it comes just a year after Django Unchained, and 74 years after Gone with the Wind also ought to be noted. I’ve learned more about film critics this year, and how they fit into the Oscar narrative, than I ever have in the many years I’ve been at this job. What I’ve discovered is that they, like the industry, cannot really make any broad statements when pulling a consensus vote. That vote reflects who THEY ARE. It doesn’t reflect the year’s best. As historically important as 12 Years a Slave is, it is equally dazzling in its artistry. Its legacy will not be determined by the consensus of right now but by the eyes and ears of those who look back on this year ten years, twenty years, seventy years from now.
Full speech, courtesy of Vulture, after the cut.
At the age of five, in 1932, I had the great thrill of going to the cinema. It was a great relief for those of us who were born into poverty, a way we tried to get away from the misery. One of the films they made for us, the first film I saw, was Tarzan of the Apes. [Ed note: The movie is calledTarzan the Ape Man.] In that film, [we] looked to see the human beauty of Johnny Weissmuller swinging through the trees, jump off, and there spring to life, while the rest were depicted as grossly subhuman, who were ignorant, who did not know their way around the elements, living in forests with wild animals. Not until Johnny Weissmuller stepped into a scene did we know who we were, according to cinema.
Throughout the rest of my life … on my birth certificate, it said “colored.” Not long after that, I became “Negro.” Not too long after that, I became “black.” Most recently, I am now “African-American.” I spent the better part of almost a century just in search of, seeking, “Who am I? What am I? What am I to be called? What do I say? Who do I appeal to? Who should I be cautious of?” In this life, when we walk into the world of cinema, we use the instrument that is our ability to try to give another impression of who and what we were as a people, and what we meant to this great nation called America. I’m glad that Sidney Poitier should step into this space right after the Second World War, and new images of what we are as people, certainly as men.
A lot’s gone on with Hollywood. A lot could be said about it. But at this moment, I think what is redeeming, what is transformative, is the fact that a genius, an artist, is of African descent, although he’s not from America, he is of America, and he is of that America which is part of his own heritage; [he] made a film called 12 Years a Slave, which is stunning in the most emperial way. So it’s a stage that enters a charge made by The Birth of a Nation, that we were not a people, we were evil, rapists, abusers, absent of intelligence, absent of soul, heart, inside. In this film, 12 Years a Slave, Steve steps in and shows us, in an overt way, that the depth and power of cinema is there for now the world to see us in another way. I was five when I saw Tarzan of the Apes, and the one thing I never wanted to be, after seeing that film, was an African. I didn’t want to be associated with anybody that could have been depicted as so useless and meaningless. And yet, life in New York led me to other horizons, other experiences. And now I can say, in my 87th year of life, that I am joyed, I am overjoyed, that I should have lived long enough to see Steve McQueen step into this space and for the first time in the history of cinema, give us a work, a film, that touches the depths of who we are as a people, touches the depths of what America is as a country, and gives us a sense of understanding more deeply what our past has been, how glorious our future will be, and could be.
I think that the Circle Award made a wise decision picking you as the director of the year. I think we look forward in anticipation to what you do in the future. But even if you never do anything else, many in your tribe, many in the world, are deeply grateful of the time and genius it took to show us a way that it should be. Forever and eternally grateful to say that we are of African descent. Thank you.
Eloquent speech.
And the man looks amazing to be closing in on 90!
I’d love to see Harry Belefonte on the big screen playing dad to say, Denzel Washington or Will Smith or grandfather to Michael B. Jordan. Why should Morgan Freeman get all the good roles for old black men?
Let’s hope that this translates into 12 Years a Slave winning Best Director, Best Film, Best Actor and Best Supporting Actress!
Dbizkid, I’m sure you take complete pleasure in believing that a movie like 12 Years a Slave will not earn money like Hustle and Gravity.
This says a LOT about you.
Nice comments from Mr. Belafonte; unfortunately, nice comments from Mr. Belafonte are the exception, not the rule.
“12 Years” is a great movie, mainly because it highlights some of the ugliest, most violent truths about slavery. Therefore, the movie’s supporters should distance themselves from Belafonte. Remember, Belafonte compared Colin Powell to a slave (in addition to his support for Stalinist regimes) and his involvement is an unwelcome distraction.
Harry B is a very close personal friend. He is a man of enormous personal integrity. Its no accident that Bishop Desmond Tutu flew in from South Africa to pay tribute to Harry for his Kennedy Center Honors back in 1989.
Highly recommended: “Sing Your Song”, the documentary about Harry’s remarkable life. It made the final 15 at the Academy, it should have been nominated. That they haven’t given him (a long-term Academy member) the Hershold Humanitarian Awards is yet another disgrace by those conservatives.
Belafonte is right.
Introducing: my blog.
http://maptothefuture.com/the-unbearable-stillness-of-being-a-slave-2/
the ”soap opera ending ” was historically accurate…that’s how he was released from slavery
This is the same guy who said “New York City was like a plantation under Bloomberg’s mayorship” at the inauguration of the new mayor…i do not have much respect for that guy!
But 12 years a Slave is a very well made movie…i did not connect with it on a deep emotional level. Still overall a very good movie with great story, directing, and acting..and i believe director deserves the praise for thr entire movie, except that soap-opera like ending! .i am already looking forward to what McQueen will do next.
“12 Years A Slave” is worth seeing if your unclear about slavery and its legacy as many people seem to be on this site. Otherwise, you probably just pass, as it seems many moviegoers have since the film has only amassed a paltry 34m thus far, and go buy a ticket to “American Hustle”.
12 Years a Slave needs to win best picture and I think it will.
Its legacy will not be determined by the consensus of right now but by the eyes and ears of those who look back on this year ten years, twenty years, seventy years from now.
You got it, Sasha.
Great tribute by Belafonte and well-deserved. It’s a benchmark in cinema history on so many levels.
I can only hope some bros meet up with Armand White on a dark street and teach him some manners.
A tribute like that coming from Harry Belafonte is really something special.
I second what Simone said!
Bravo to Belafonte for his eloquence, and bravo to Sasha for hers.
“I’ve learned more about film critics this year, and how they fit into the Oscar narrative, than I ever have in the many years I’ve been at this job. What I’ve discovered is that they, like the industry, cannot really make any broad statements when pulling a consensus vote. That vote reflects who THEY ARE. It doesn’t reflect the year’s best. As historically important 12 Years a Slave is, it is equally dazzling in its artistry. Its legacy will not be determined by the consensus of right now but by the eyes and ears of those who look back on this year ten years, twenty years, seventy years from now.”
Preach it sister!
On March 3rd, let’s hope our discussions here at AD is a celebratory mood for 12 Years a Slave. If not, we’ll have oodles to appropriately rant and rave about.