Get ready for a captivating tale that's been hidden for over five decades!
In 1970, the visionary documentarian William Greaves, frustrated by mainstream media's lack of interest in addressing pressing societal issues, penned a powerful op-ed in the New York Times. He urged media executives to take a bold stand and create an empowering media landscape. Greaves' words resonate even more profoundly today, almost six decades later.
Fast forward to 1972, and Greaves embarked on a groundbreaking project: 'Once Upon a Time in Harlem,' an oral history of the Harlem Renaissance. This documentary, finally premiering at Sundance, is a time capsule of a legendary cocktail party hosted by Greaves at Duke Ellington's home. Imagine a room filled with the surviving creators of the Harlem Renaissance, many of whom hadn't seen each other in over 50 years! They laughed, drank, and debated their place in a rapidly changing cultural landscape, and Greaves captured it all on film.
The footage was originally intended for a different documentary, 'From These Roots,' which Greaves completed in 1974 using archival materials. But 'Once Upon a Time in Harlem' was his true passion project, and he struggled to bring it to fruition. Greaves passed away in 2014, leaving the film unfinished, but his legacy lived on through his widow, Louise, who continued the work until her passing in 2023. The mantle was then passed to their son, David Greaves, and his daughter, Liani Greaves.
Among the Harlemites featured in the film are iconic figures like painter Aaron Douglas, artist and queer pioneer Richard Bruce Nugent, and composer Eubie Blake. Interestingly, Duke Ellington himself was absent due to illness.
David Greaves, who was present at the 1972 party as a cameraman, shared insights with Deadline ahead of Sundance. He explained the challenges his father faced in completing the film, citing the need to be an active part of the project and the financial constraints that led him to focus on other paid work.
Liani Greaves added that her grandfather and Louise were trying to integrate the contemporary elements they were witnessing in Harlem and Black culture into the film's narrative. She believes their passing provided the necessary distance to make it work.
The unfinished film created buzz when New Yorker critic Richard Brody attended a screening and raved about it, calling it one of the greatest talking pictures and creative nonfiction works he'd ever seen.
To bring the project to life, producer Anne de Mare oversaw the restoration and digitization of over 60,000 feet of 16mm film, a massive task that took about two and a half years.
David Greaves is credited as the director of this version, with Liani and de Mare as producers. They've embarked on a journey to not only complete 'Once Upon a Time in Harlem' but also to explore other projects from Greaves' extensive archive.
In an interview, David and Liani delved into the challenges their father faced, the restoration process, and their plans for the future. They revealed that William Greaves left no specific instructions, only the mandate to 'make it happen' and 'don't f*** it up.'
The film's structure, true to Greaves' style, is unconventional and contemporary, resonating with a new generation of viewers. Liani shared that her grandfather maintained a youthful spirit and curiosity throughout his life, considering himself a struggling filmmaker until the end.
David provided insights into the organization of the 1972 party, explaining how Greaves worked closely with librarians at the Schomburg to track down and invite the guests. He also shared that his father directed the conversation and prompted topics during the filming.
Parts of the film were screened in New York at MoMA and The Met, where they received valuable feedback. David mentioned that the original opening sequence, inspired by Langston Hughes' poem 'The Negro Speaks of Rivers,' was simplified based on audience suggestions.
The team initially aimed to release the film in time for William Greaves' centenary, and while that goal hasn't been met, they're still planning a retrospective in New York this year, on his birthday, October 8th. They're also excited about a retrospective at the Barbican in London around the same time.
Despite Greaves' independent spirit and lack of Hollywood recognition during his lifetime, his work is now being embraced and celebrated. Liani shared that this embrace of Greaves' legacy is exactly what she's been working towards, aiming to preserve his writing and philosophy for future generations.
There's more to come! Liani revealed plans to publish some of Greaves' writing, including a script based on Langston Hughes' book 'The Sweet Fly Paper of Life.' She also mentioned the creation of a public-facing archive as part of the film project, allowing people to explore full interviews and delve deeper into the lives of those involved.
As for the film's journey to Sundance, it was a stroke of luck and persistence. Liani explained that they applied with no money and an unfinished film, but a wonderful article by Richard Brody caught the attention of a funder, the Cromwell Harbor Foundation, who provided the necessary support.
The Greaves family hopes for a wide release, wanting people to experience the film in theaters with their communities, reflecting the film's themes of collaboration and togetherness.
'Once Upon a Time in Harlem' is a testament to the power of perseverance and the importance of preserving history. It's a story that deserves to be told, and we can't wait to see it unfold on the big screen!
