Monday, 2 November 2015

Capital Celluloid 2015 - Day 321: Tue Nov 17

Nothing But a Man (Roemer, 1964): BFI Southbank, NFT2, 6.20pm


This is part of the BFI Love: The Power of Love season. Full details here.

Chicago Reader review:
A sincere, intelligent, and effectively acted independent feature from 1964, about a black worker (Ivan Dixon) and his wife (Abbey Lincoln) struggling against prejudice and trying to make a life for themselves in Alabama. Directed by the able and neglected Michael Roemer (who made The Plot Against Harry five years later) from a script written in collaboration with Robert Young, who served as cinematographer; with Gloria Foster, Julius Harris, Martin Priest, and Yaphet Kotto
Jonathan Rosenabum

Here is the BFI introduction: A landmark of US cinema, this uniquely truthful depiction of black life in early 1960s Alabama won great acclaim at the Venice, London and New York film festivals. Though it then sank into relative obscurity, a recent restoration by the Library of Congress has again made its many virtues gloriously apparent.

When railroad labourer Duff (Ivan Dixon) meets teacher Josie (Abbey Lincoln), he decides it’s time to settle down to marriage and a factory job. Trouble is, he’s expected to tolerate white bosses who, wittingly or not, are unfailingly racist, and Duff has his pride. Moreover, the couple have to deal not only with the disapproval of Josie’s preacher father, but with Duff’s son by a previous relationship and his own alcoholic father.

Small wonder this was reputedly Malcolm X’s favourite film; terrific performances by the mostly African American cast (Lincoln is especially memorable as the strong-willed Josie), eloquent camerawork by Roemer’s writing partner Robert M Young, and a matchless soundtrack of Motown tunes make for understated but powerful drama. Still more impressive, the film provides persuasive insights into how social conditions can influence not only relationships but notions of masculinity, responsibility and resistance, so that it still feels surprisingly modern and all too relevant.
Geoff Andrew

Here (and above) is the trailer.

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