It was timely of MUBI to post this film of Swedish National Broadcast Company news footage on American Civil Rights protests. Director Göran Olsson discovered the footage whilst researching and realised it needed to be presented to a contemporary audience. He starts with an interview with a white, small businessman who reiterates the myth of the American Dream and this frames the impossibility at the time of even believing in the Dream if you were a ‘person of colour’. The Swedish journalists went to where it was at and interviewed, or filmed speaking, key campaigners for Black Power: Elaine Brown, Stokley Carmichael, Eldridge Cleaver, Angela Davis, Huey Newton and Bobby Seale. Although, as Olsson says in a Film Comment interview, his film is about the Swedish point of view of the time, in order to not overly privilege this viewpoint he included a contemporary African-American view on the footage with comments from musicians Erykah Badu, John Forté (of The Fugees) and Talib Kweli and professors Angela Davis, Robin Kelley and Sonia Sanchez. As he says, these voices have a feel of a DVD commentary and it’s especially good to hear Angela Davis; the footage includes her trial for abetting murder which was such a farcical charge that (you’d hope) it had no chance of sticking.
Unfortunately what’s most striking about the documentary is how little things have changed for African Americans. The same police brutality and government connivance in repression: all in the ‘land of the free’. One difference is, of course, social media were we can readily see police violence though it is unnerving how this does not curb their brutality. The news media, in the 1960s, were probably more likely to ‘call out’ government malfeasance as the increasing corporatisation of news since the 1980s has mitigated risk taking and investigative reporting. The Swedish reporters’ ‘neutral and friendly’ demeanour comes through strongly as they were seeking the ‘truth’; though Angela Davis’ brilliant putdown, whilst being interviewed in prison on the trumped-up charges (was that phrase named after him?!), showed the inevitable limitations of their perspective. Olsson also includes footage of a tourist bus tour of Swedes in Harlem in which the racist assumptions aired are shocking today.
The ending, rightly, is bleak as heroin flooded into Harlem and so, successfully, dispersed Black radicalism; a similar policy was used in LA in the 1980s. This uses footage from Lars Ulvestam’s documentary Harlem: Voices, Faces (Sweden, 1973).
The story hasn’t ended; currently there have been more than two weeks of protest in America after George Floyd’s murder on camera by police. It would be nice to think that this will be a turning point, particularly with the Hater in Chief currently occupying the White House and the fact that the protests have extended worldwide. It was good to see slave trader Colston’s statue being plonked into the harbour in Bristol, UK, last weekend though it is likely the forces of reaction will be not far behind. That such mass protests are happening during a pandemic (though police are more likely to kill African American males than Covid19) is worrying.