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TO: Honorable Mayor and Members of the
City Commission
FROM: Roger M. Carlton
Director ;
Department of Off, reed parking
Recommendation
DATE: May 7, 1985
• ..• .- SUBJECT: LOWENBRAU LEGENDS OF BLACK
CINEMA
It is recommended that Gusman Cultural Center seek funding of $109000 to
support the attendance of students through grade 12 to the Lowenbrau Legends
of the Black Cinema. The Film Festival is being presented through the
auspices of the Western States Black Research Center (Mayme Agnew Clayton,
Executive Director). The films are from the collection of the Center whose
purpose is to preserve and disseminate the unique history and cultural
heritage of the Black Americans. These films are part of the largest
collection of Black Film history ever assembled.
Background
The Lowenbrau Legends of Black Cinema are being shown in six festivals across
the United States including Chicago, Philadelphia, Boston, Washington D.C.,
Miami and Los Angeles, Gusman Cultural Center will house the festival in
Miami. The films, dating from 1929 to 1983, include five (5) shorts, nine
i
(9) sixty to ninety minute features and ten (10) features of over ninety
w"
minutes. Topics range from vaudeville comedy and music to drama. Some of
3
the shows and stars featured include:
Stormy Weather, starring Bill "Bojangles" Robinson and Lena
1
Horne with appearances by Fats Waller and Cab
a
Calloway .... 77 minutes
1
Song of Freedom, starring Paul Robeson as a young stevedore who
is heard singing in a pub and has a meteoric rise to fame
as an opera star. Said Robeson "it is (Song of Freedom)
y.
the first step in my effort to break down the prejudice
�
that somehow Negroes must always be different on the g Y
i
screen ...... 68 minutes
IS V
The Learning Tree is the story of two
, y young boys and the
'3
different paths they choose to follow, one good and one
bad. Roger Greenspan in his 1969 review noted, "a special
{
visual density and an ability to hold a world together in
panoramic view are not bad qualities for starts in
`
treating the ambiguities of a remembered life..." 107
minutes
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Man and Boy, starring 13111 Cosby, Leif Erikson and Douglas
Turner Ward. Bill Cosby portrays a former Union soldier
who moves his family to a homestead in the Old West
following the Civil War. Through different situations, he
learns a great deal about his gob .... 98 minutes
Green Pastures, starring Edna Mae Harris, Frank Wilson and
Eddie "Rochester" Anderson. A creative Sunday school
teacher envisions the wonders of the Bible and Biblical
characters such as Adam, Eve, Cain, Moses and Noah all
become his contemporary kinfolk. The New York Times said,
"The disturbance in and around the Music Hall yesterday
was the sound of motion picture critics dancing in the
streets. —the occasion was the coming to the screen of
Marc Connelly's naive, ludicrous, sublime and
100
heartbreaking masterpiece of American Folk drama...
minutes
Lillies of the Field, starring Sidney Poitier. This movie sets
this actors career in orbit in 1963. This touching movie
is about an ex -GI who is traveling across the country and
just
havewants escap escaped from spending
behi d the when
Iron Curtain. Thenuns
strong
willed Mother Superior feels the young black man with
skills in building and repair work is a gift to them from
God and that is where the fireworks begin....110 minutes
Somebody Say, Amen 1983. The story of Gospel singers in the
U.S. led by Willie Mae Ford Smith and Thomas A. Dorsey
leaders of Temple Baptist Church, Chicago,
Illinois ...... 110 minutes
Analysis
The cost of underwriting this project is =10,000 which will be met by seeking
support from three sources, the City of Miami, Dade County and the Dade
Countow y
School Board. Equal support from all three sources of $3,333
student, whether alone or with a paying parent, to experience the films. They
may come as a group from their school, church or civic organization or ten
students with one paying adult. The purpose is to offer the opportunity,
to view their mutual film heritage.
especially to the Black Community,
Conclusion
i
� She support of the City of Miami, Dade County and the Dade County School Board
each in the amount of $3,333 will allow Gusman Cultural Center to make this
offering to the community. Without the support the project will not be able to
reach many disadvantaged students. We recommend your approval in seeking the
funds to promote and move forward on this worthwhile community project.
cc: Honorable Chairman and Members of the Off -Street Parking Board
Honorable Chairman and Members of the Gusman Cultural Center
Advisory Committee
Man and Boy, starring Bill Cosby, Leif Erikson and Douglas
Turner Ward. Bill Cosby portrays a former Union soldier
who moves his family to A homestead in the Old West
following the Civil War. Through different situations, he
learns a great deal about his Son....98 minutes
Green Pastures, starring Edna Mae Harris, Frank Wilson and
Eddie "Rochester" Anderson. A creative Sunday school
teacher envisions the wonders of the Bible and Biblical
characters such as Adam, Eve, Cain, Moses and Noah all
become his contemporary kinfolk. The New York Times said,
"The disturbance in and around the Music Hall yesterday
was the sound of motion picture critics dancing in the
streets...the occasion was the coming to the screen of
Marc Connelly's naive, ludicrous, sublime and
heartbreaking masterpiece of American Folk drama..." 100
minutes
Lillies of the Field, starring Sidney Poitier. This movie sets
this actors career in orbit in 1963. This touching movie
is about an ex —GI who is traveling across the country and
just wants some spending money when he meets five nuns who
have escaped from behind the Iron Curtain. The strong
willed Mother Superior feels the young black man with
skills in building and repair work is a gift to them from
God and that is where the fireworks begin....110 minutes
Somebody Say, Amen 1983. The story of Gospel singers
the
U.S. led by Willie Mae Ford Smith and Thomas A. in
leaders of Temple Baptist Church, Chicago,
Illinois ...... 110 minutes
Analysis
The cost of underwriting this project is $10,000 which will be met by seeking
support from three sources, the City of Miami, Dade County and the Dade County
School Board. Equal support from all three sources of $39333 would allow any
student, whether alone or with a paying parent, to experience the films.
They
may come as a group from their school, church or civic organization or ten
students wtohone the Blacking adult. The Community, to vie purpose
their mutual film heritage.
especially
Conclusion
The support of the City of Miami, Dade County and the Dade County School Board
each in the amount of $3.333 will allow Gusman Cultural Center to make this
offering to the community. Without the support the project will not be able to
reads tmany omote land move forwardton this worthwhileend our communityal in projectieking the
fund p
cc: Honorable Chairman and Members of the Off —Street Parking Board
Honorable Chairman and Members of the Gusman Cultural Center
Advisory Committee
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ONMOMU
news release
Contact: Shelia
I. on
414)931-4307
Victoria Ryan
(312) 828-9360
LOWENBRAU SPONSORS TOUR OF CLASSIC BLACK FILMS
MILWAUKEE (April 29, 1985)--Festivals featuring 24 classic
black films will be held in five U.S. cities beginning May
i 16.
The "Lowenbrau Legends of Black Cinema" film festivals,
sponsored by Lowenbrau beer, are fund-raisers for the
Western States Black Research Center (WSBRC)--a Los
i
Angeles -based non-profit organization in need of funds to
properly house its collection of rare and historically
significant books, documents, films, music, art and
memorabilia.
In addition to proceeds from the film showings, funds
F.. raised through the sale of souvenir programs --featuring a
synopsis of each film, photos from the films and historical
•r_ information --and a souvenir poster from the festivals will
be donated to WSBRC.
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85-467
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The festivals will be held in Chicago, May 16-19;
Philadelphia, May 23-26; Boston, May 30-June 2; Miami, June
6.9; and Washington, b.C./Riverdale, Maryland June 13-16.
"We're excited about our sponsorship of these film
festivals," said Lowenbrau Brand Manager Tamara Hauck.
"We've been involved in film presentations before, but
these are special. It gives the public an opportunity to
view films that are rarely seen --even on late night
television.
"And, Lowenbrau is helping an organization whose
primary goal is to preserve black history and
culture --including the often forgotten black cinematic
heritage."
Western States' founder, archivist and executive
director Mayme Clayton said, "It's not easy to find
sponsors for events such as this, so we're very happy that
Lowenbrau has undertaken this project. Part of the process
of preserving an ethnic group's history and culture
includes making others aware of what that group has
contributed. Too often, the achievements and contributions
of blacks have gone un-noticed. A series of festivals such
as this is one way of further demonstrating that black
people have been involved in every aspect of American
culture, and of keeping knowledge of black contributions to
this society alive.
(more)
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' "We have a saying at the WSBRC that you can't know
Y. where you're going unless you know where you've been.
S
These films show historically where black people started i
film and how we got there.
�,With this knowledge, people can assess for themselves
} whether we have improved our status in the film industry
5 since the 30's and 40's."
The "Lowenbrau Legends of Black Cinema" film festivals
primarily feature movies released during the late 1920's
through the 1950's. Among them are "Stormy Weather"
starring Lena Horne, "Song of Freedom" with Paul Robeson,
"Carmen Jones" starring Dorothy Dandridge, "Bronze Venus"
with Duke Ellington, "New Orleans" with Billie Holiday,
`~ 'Anna Lucasta", starring Eartha Kitt, the star-studded
may'. "Hallelujah!" and "Cabin in the Sky", and "Moon Over
Harlem", directed by Oscar Micheaux.
7 t,
... Lowenbrau is brewed by the Miller Brewing Company, an
.` operating company of Philip Morris Incorporated. Other
i
' principal beer brands include Miller High Life, Lite,
Magnum Malt Liquor, Meister Brau and Milwaukee's Best.
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FILM FESTIVAL SCHEDULE OF SHOWINGS
THURSDAY EVENING (OPENING PREMIER)
5:00 p•m•
"Symphony in Black"
"Black and Tan"
5:40 p.m.
"Moon Over Harlem"
"St. Blues"
Louis
"Hi -De -Ho"
7:10 P.M.
"Bronze Buckaroo"
8:15 P.M.
"Bronze Venus -
Duke Is Tops"
(OPENING PREMIER
ENDS)
9:35 p•m•
"New Orleans"
FRIDAY AFTERNOON
5:00 P.M.
"Lying Lips"
"Song of Freedom"
6:05 p.m.
FRIDAY EVENING
7:35 p.m.
"Rufus Jones For
President"
7:55 p.m.
"Stormy Weather"
9:25 p.m.
"Scar of Shame"
SATURDAY AFTERNOON
1:00 p-m.
"The Learning Tree"
3:00 p.m.
"Bright Road"
4:20 p.m.
"Man and Boy"
SATURDAY EVENING
6:15 p-m.
"Carmen Jones"
8:15 p.m.
"Imitation of Life"
10:10 P.M.
"Black Orpheus"
YEAR
1935
1929
1939
1929
1934
1938
1938
1947
1939
1937
1933
1943
1927
1969
1959
1971
MINUTES
(10)
(20)
(60)
(17)
(12)
(60)
(80)
TICKETS
$10.00
TICKETS
(89) $ 3.50 Adults
$ 2.00 Senior Citizens
$ 2.00 Children
(60)
(68)
(20)
(77)
(10)
(107) PG
(69)
(98)
1954 (107)
1934 (106)
1959 (103)
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OPENING PRWER SCHEDULE
5:00 P.M. o Cocktails Served Continuously
o Films Begin
- "Black and Tan" 10 minutes
- "Symphony in Black" 20 minutes
5:30 p.m. o program Begins
Greetings from Local City Official
- Comments from Dr. Mayme Clayton
5:40 p.m. o Films Begin
- "Moon Over Harlem" 60 minutes
- lost. Louis Blues" 17 minutes
- "Hi -De -Ho" 10 minutes
7:07 p.m.
7:10 p.m.
9:35 p•m-
o Close Program
- Lowenbrau Brand Manager
o Films Begin
- "Bronze Buckaroo" 60 minutes
- "Bronze Venus -Duke is Tops" 80 minutes
End of Opening Premier
85-461
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::. SCHEDULE OF SHOWINGS eons1d•
SUNDAY AFTERNOON
`
4_
1%00 V.U.
"Green Pastures"
1936
(110)
2:40 p.m.
"Ha llelujah!"
1929
(107)
§y'
ry .
t
4:40 p.m•
"Say Amen,
Somebody"
19$3
(100)
SUNDAY EVENING
6:35 p.m.
"Lillies of the
Field"
1963
(97)
. 0
"Cabin in the Sky"
1943
(100)
p
_ 2 &
TICKETS
$ 3.50 Adults
$ 2.00 Senior Citizens
$ 2.00 Children
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LARGEST UIACK
UlgroRY COMMON AND
RESEARCH CENTER ON TSTHE WEST COAST
WSBRO
WESTERN STATES BLACK RESEARCH CENTER
A NON-PROFIT ORGANIZATION
3617 MONTCLAIR STREET
LOS ANGELES, CALIFORNIA 90DIB
(213) 737-3292
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BOARD OF ADVISORS •
josh AWAft
DAMP bake% Sr.
NF.S'�i` PS STA`�"ES 131ACK .A tC C i
i'he Western states Black Research Center exists to preserve and
disseminate the unique history and cultural hetitage of the American
of African descent. Through the collection of rare and historically
significant books, documents, films, music, fine art, and memorabilia,
valuable lessons of history which bride the
the Center perpetuates„
past and the present far the future. We at W5BRC believe that, You
can't know where you're going unless you know where you've been."
The Center's assemblage of Afro-American resource materials is
unique in the Western United States, because of its site and scholarly
value.
nis Collection is an extraordinary cultural treasure with a vast ability
to delight as well as educate. It is meant to be used intelligently and en-
ioYed enthusiastically by people of all ethnic derivations, as a cultural
compass toward a more complete and meaningful understanding of
American history.
With excellent libraries, museums, and archives throughout the West
there still remains a great deal of material regarding Afro-American
culture and history that is yet to be recorded, consolidated, d made
publicly available.
it is for these reasons that in 1972,.h6s. Mayme Ago Clayton
founded the Western States Black Research Cf�t�,gr, as... At
organization. Mayme Clayton has, ovtr the past twenty years comm it.
ted her life to preserving the scattered and often neglected his of
the Afro-American. ;
The Center comprises these four main elements:
• Literary Collection (which dater from 1?. to tb •'
• Early black film archives, known as the Black Amenan C a
Society (which dates from 1903)
• Record Library (which dates from 1907)
• Artists Asse6tion (composed of contemporary artists that
reside or exhibit in Celifomia) ;
t
The Center's Service to the public is important because:
• Prior to the establishment of WSBRC there was no single West
Coast location for extensive research on Afro-American culture
and history.
• Valuable information that might have otherwise become lost or
forgotten is now consolidated and available for public use.
• It is a means of conserving the intelligence of the past for the
edification of the future.
In VSBRC's capacity as a consolidated resource center our primary
foal is to aid the promotion of pride, dignity, and intercultural
understanding.
A
WSBRC'S LITERARY COLLECTION
Dating from 1790 to the present, this remarkable Collection written
by or about American blacks consists of over 12,000 volumes and rare
papers, making it the most extensive accumulation of its kind in the
Western United States.
The Collection is significant because of its age, the rarity of the works,
and the sheer breadth of its content. But of even greater importance is
its priceless instructional and inspirational value.
Spanning a wide range of scholarly interests, the Collection is rich in
areas such as children's literature, the arts, pre -Civil War material,
blacks in the early American West, autobiographies and poetry.
This unique scholarly reserve chronicles, validates, and expresses
Afro-American literary evolution from the Eighteenth Century to the
present.
EARLY SACS
BLACK
FII.MS BLACK AMER[CAN CINEMA SOCIETY
The Center's Early Black Film Collection,
maintained by the Black American Cinema
Society, traces Afro-American contributions to the motion picture
w 6ca., hom 1903 to the present.
SACS is significant because most American film buffs are unaware of
the many and varied contributions of American blacks as filmmakers
sand entertainers in silent films, early talkies, and short and feature
films.
We at WSBRC realize the impact that films have had upon American
blacks, and through preservation and presentation hope to provide a
vardstick with which assessments about the past can be made for the
future.
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85-467
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R ORD LIDRMY
EC
• before the enforced migrations from theftla—
cultural shores of Africa to the shores of America,
music had been an integral pan of the black heritage. Once in America, blacks
devised ways to make music, using whatever
was available as instruments. Singing, danc-
ing, laughing. crying: performing became a
way of life, a means of survival, a way to
forget.
Black American contributions to music have been more lasting and
profound than those of any other ethnic group in modern history,
revolutionizing the aesthetic and social values of the world. Blues, jazz,
pop, rock, and gospel are universally acclaimed musical forms in
which all Americans can be proud.
The Center's Record Library chronicles Afro-American music from
1907 to the present, and stands as a testament to American musical
achievement.
California is a growing and vital center for all the Arts. The Artists
Association affiliated with WSBRC will serve to promote. exhibit, and
highlight fine works of an by today's black artists who represent a lit-
tle known, but integral facet of America's rich cultural life.
The promotion and presentation of fine art by Association members
will help bring both aesthetic and commercial appreciation from the
public, and provide a more well-rounded view of black creativity. For
more information about WSBRCAA membership and activities
contact:
WSBRCAA
P.O. Box 38237
La Angeles, California 90038
(213) 737.3292
85-4611
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In it suitable facility. with the Collection as !he- primary tesource• the
Center will serve a a focal point and apringbrd for many diverse,
but closely related activities. Some of these are described below.
SERVICES AND NCH SPECIALIZAIIONS
WOekskop and Semitmh workshops and seminars for
Center staff members will develop
teachers, writers, librarians, and members of the Los Angeles com-
munity. The goal is to use the Collection to its maximum potential as
a source of cultural information, to facilitate career development, and
encourage community involvement.
Gtnealogical Service
Center Staff will trace, of help you trace your family's roots.
Art Service
its
the Center
will-Provide
iComplete
range
ofssevicess include commercial, aswelas fine art
commissions.
Speakers Bureau
On any topic related to the Center's activities, we will assist civic,
church, fraternal, and community organizations in finding qualified
speakers.
Research Service
The Center's specialized research services are available to scholars,
researchers and community members. Maximum use is encouraged.
guided by common sense safety rules.
Center Reasonablestafeet
will be assessed
for special research projects
GOALS AND OBJECTIVES FOR THE CENTER
The Center's immediate Objective Supersedes All Else: To
find a sufficiently secure, large, and accessible home for the permanent
and will growing Collection. Once this is realized the Center can carry
ibtth wny different but closely related activities and community
Services.
The Center's Long Range Objective is to establish Los Angeles'
first Afro-American Museum & Cultural Center.
• In performing an educational function WSBRC'a Collection
can provide tangible evidence of Afro-American evolution.
• The Afro-American Museum & Cultural Center will stand as a
testament to the many and varied ��h�io� et l�acud�Y
Anwricans. 1t will be a place
emotionally, and spiritually.
The Center's Primary Goal is to aid the promotion of pride. digni-
ty, and intercultural understanding.
85-467
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Entertainment Network has bete formed as
The 81ack Cultural
the television and film programs, production and distribution arm of
the Western States Black Research Center- BBCh'EiN�is a tin consortium
of professionals with diverse backgtoun
ds TV and film producers, directors, creative and technical personnel -
The consortium has come together to pursue one common goal
and that is to consistently provide quality TV programming to the
many outlets becoming available through new technological modes
of transmitting and receiving information' Subscription TV' Pend
Cable TV. Low power TV. MDS, Video Disc, potential outlets for
satellite distribution have all been targeted
BCEN programming.
Some of the specific long term goals of BCEN are as follows;
A.To stimulate training and employment opportunities in the Black
Hollywood TV & Film creative and production communities-
B. To enhance a more positive on camera exMute for TV and Film
talent whether professional Of up and coming.
C.TO assist in creating a more wholesome relationship betweenI yte d
scribers and their local system of delivery, one
a more informed subscriber ban •
D.To provide promotional concerns who would like to reach a por•
tion of the $150 billion dollar Black consumer market with spe•
eialited targeted programming vehicles.
L To entertain all audiences regardless of ethnic derivation and live
them a more complete understanding of total Americas►
lifistyle
The Black Cultural Entertainment Netwwor will offer Setwill publish a led de-
sd distri-
criptions a quarterly aalo and coming
of available pntgamming. (in the can) and up
original product.
85-467
In a suitable facility, with the Collection as the primary resource, the
Center will serve as a focal point and springboard for many diverse,
but cbasely related activities. Some of that are described below.
SERVICES AND RESEARCH SPECIALIZATIONS
Workshops and Seminars
Centel staff members will develop workshops and seminars for
teachers, writers, librarians, and members of the Los Angeles com-
munity. The goal is to use the Collection to its maximum potential as
a source of cultural information, to facilitate career development, and
encourage community involvement.
Genealogical Servict
Center Staff will trace, or help you trace your family'& roots.
Art Service
Through its Artists Association, the Center will provide a complete
range of art services to include commercial, as well as fine art
commissions.
Speakers Bureau
On any topic related to the Center's activities, we will assist civic,
church, fraternal, and community organizations in finding qualified
speakers. •
Research Service •
The Center's specialized research services are available to scholars,
researchers and community members. Maximum use is encouraged,
guided by common sense safety rules. Reasonable fees will be assessed
for special research projects involving Center staff.
GOALS AND OBJECTIVES FOR THE CENTER
The Center's Immediate Objective Supersedes All Else: To
And a sufficiently secure, large, and accessible home for the permanent
and still1growing Collection. Once this is realized the Center can carry
fmh many different but closely related activities and community
services.
The Center's Long Range Objective is to establish Lo& Angeles'
Am Afro-American Museum & Cultural Center.
• In performing an educational function WSBRC's Collection
can provide tangible evidence of Afro-American evolution.
• The AfraAmerian Museum & Cultural Center will stand as a
testament to the many and varied contributions of black
Americans. It will be a place to be vireshed intellectually,
emotionally, and spiritually.
The Centee's Primary Goal is to aid the promotion of pride. digni-
ty. and intercultural understanding.
85-467
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WSSIC PERFORMING ARTS PROGRAM
The PWorming Arts Program is the newest branch of the 'WSBhC
and a k+gical step towards the renters primary gaol of siding in the
promotion of pride, dignity and intercultural undetstanding.
The Performing Arts Program will contribute to the accomplish.
ment of this goal through the development and presentation of regu.
larly scheduled theatrical productions that will reflect the concerns,
heritage, contributions and history of Black Americans.
presenting live performances which draw their energy and
strength from the vast creative teservoir of Black talent and material,
we hope to revitalize and renew the cultural and spiritual waters of
ourselves, our community and our society as a whole.
The proposed season for the W.S.B.R.C. Performing Arts Program
would consist of six plays running two months each. The proposed
breakdown of plays would be Sa follows: 2 classical, 2 contemporary,
and 2 new plays. The proposed sequencing would be: classical, con-
temporary, classical, new, contemporary, and new. It is felt that this
arrangement would give the program solid material with which to in.
itiate the season, thereby attracting a Rroager audience following. In
addition, it allows the maximum amount of time for locating the
strongest new material.
For our premiere production, ;we have chosen an adaptation of
Shakespeare's "Hamlet" set in the 14th Century West African King-
dom of Malt. This unique blending of the universal genius of
Shakespeare with the rich colorful history and heritage of ancient
West Africa will not only produce a landmark theatre event, but will
also provide a viable entrance into the world of classical theatre for
the Black Community; an entrance, 1 might add, which has been
long denied us b► the presentational irrelevance of past productions
of this master work.
In addition, through the symbiosis of 16th Century English liters•
ture and 14th Century African history, we not only' realize the
W.S.B.R.C.'s primary goial of promoting pride, dignity and intercul•
tural understanding, but we do so in a manner that is educational
at the same time it is entertaining. This is a combination that is
hard to beat under any circumstances.
Although we have a six play season, we arc seeking funding on
a per play basis. Therefore, we am currently looking to underwrite
our initial production of "Hamlet," which has already attracted the
prticipation of such notable talents as Mr. William Marshall -world
famous Shakespearean actor and star of numerous stage. Screen and
television credits; brilliant, young, award winning, classical actor/di•
sector J.D. Hall; renowned Shakespearean scholar, actor/direcax Mr.
lack Manning; and Black historian and Founder of the W.S.B.R.C.
Mrs, Mayme A. Clayton.
�v
t
L
t -
�Ys x
c. fit....
8S- 467
F�
PLEASE JOIN US AND
HELP US PRESERVE AND
pERpETUATE OUR ROOTS.
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included in mailings for all Center events
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also includes admission to all exhibitions at no charge
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also includes WSBRC Calendar .3 50.00
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ow includes Center Newsletter $ 100.w
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Tat here
A.tr i"
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rjq
195-4602'
i
A
Maythe Agnew Clayton
Pounder -Archivist
Executive Director, VSBRC
Mayme Clayton was born in Van
Buren, Arkansas. She came to Los
Angeles in 1946 with her husband
Andrew , where they raised three
sons Avery, Renai, and Lloyd.
Inspired at an early age by the life of
Mary McLeod Bethune, she felt com-
pelled to work for the betterment of
black people.
A professional librarian since 1957, it was cleat to her that the history
of the black American was rapidly becoming lost, scattered, and
neglected, and that a concerted effort must be made to conserve it. It
was at that time that she began to collect rare and out -of -print
materials. She has since become known throughout the United States
as one of the foremost authorities, and 14ading collectors of materials
on Afro-American culture and history. .
Because of Mrs. Clayton's efforts, WSBIfC has already become an in.
valuable source of information lot thousands of students, teachers,
and others interested in a more meaningful and comprehensive
understanding of the Afro-American.
Ale: Halev
.
page One
A
S P.M. Thursday Shorts
St. Louis Blues - 1929 (17)
"St. Louis Blues" made in 1929. is a dramatized interpretation of the
classic Blues with an all -black cast and features the only time Bessie Smith
was captured on film. Here she plays the wronged wife and what more bitter
pill for the blues? W.C. Handy was co-author of the script as well as
musical director. The music is played by the James P. Johnson Orchestra
which consists almost entirely of members of the Fletcher Henderson Band.
Johnson himself appears on screen as the pianist. If you ever wanted to
see Bessie Smith, get your ticket for this film.
Black and Tan - 1929 d20)
"Black and Tan" is a rare example of a movie which uses jazz both organi-
cally and dramatically, with stunning effect. A trace of a plot provides
an opportunity for the first film appearance by Duke Ellington. On screen,
Is the Duke and his Cotton Club Orchestra: Arthur Whetsol, Freddy Jenkins,
Cootle Williams, Barney Bigard, Johnny Hodges. harry Carney, Joe Nanton, Fred
Guy, Wellman Braud, and Sonny Greer. They are joined by the Hall Johnson Choir
and Fredi Washington who is featured in several other films in this series.
The songs: Black and Tan Fantasy, The Duke Steps Out, Black Beauty, Cotton
^` Club Stomp, Hot Feet, and Same Train.
Symphony in Black - 1935 (20)
"Symphony in Black" is one of the most elegant musical shorts you'll ever
see. It features Duke Ellington and his Orchestra along with Billie Holliday.
They play: The Laborers, A Triangle Dance -Jealousy -Big City Blues. A Hymn of
Sorrow, and Harlem Rhythm.
Cab Calloway's - 1934 Hi -De -Ho (22)
Cab Calloway's "Hi -Do -Ho" is a musical short done by Paramount Pictures
featuring Cab and his Orchestra playing: Rhythm and The Lady With The Fan.
The film is set in a Harlem nightclub.
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r Moon Over Barlett - 1939 (60)
F
"Moon Over Barlett" was produced by Oscat Mieheaux and was first distributed
f In 1039. it was directed by Edgar Ulmer fat Meteor productions. It starred
Bud Barrisr Cora Green, Alec Lovejoy, Mercedes Gilbert, Sidney Sechet and his
Swigging lard and was completely produced by black people. In the film, white
and black hoodlums prey on pushcart peddlers in Harlem. A wealthy widow disowns
her own daughter because of her supposed advances to her stepfather. The step-
father goes through the mother's fortune, but in the end the evil Sian beets
his death and the daughter is cleared of a murder charge. Add to all this that
It takes place in a nightclub background with many musical numbers and night-
club entertainment. If it sounds like soap opera, that's exactly what it was
in its time, and though the plots haven't gotten any better, the production
values have. Micheaux was well known for his stories of the upper reaches of
a quasiblack society. If he were alive today, no doubt he would be producer
of shows like Dallas, falcon Crest, or Danasty.
7 P.M. Bronze Buckaroo - 1938 (60)
The "Bronze Buckaroo" (Herb Jeffries), is an interesting look at films made
during a time when "light was right." Herb Jeffries was actually a black Gene
Autry and the people he was fighting were always darker. Buckaroo is certainly
one of the few filmseever made where you will see an all -black cowboy cast.
Bronze Venus (Duke is Tops) - 1938 (80)
In the 1930's, Ralph Cooper and a group of white associates organized a
company called Million Dollar Pictures. One of the pictures they produced,
was "Duke Is Tops," which starred Duke Ellington, Ralph Cooper, and a pretty
little bronze -skinned gal making her movie debut. That young woman was Lena
Horne who can also be seen in Cabin in the Sky and Stormy Weather in this series.
She is as beautiful to look at then as she is now. One of the aspects of Million
Dollar Pictures was that these pictures were made independently, and while they
may appear dated, they were a great source of pride to black people of that era.
They also represented an element missing today in most studio films. That is,
their stories rang true to black experience.
9 P.M. New Orleans - 1947 (89)
y: -
For those who row u bearingonlytales of the legendary Billie Holliday.
"New Orleans," a conventional muscal ilm in every other way except for its y
" cast, affords the only chance to see her in a feature film role. The Woody
e: Herman Orchestra of the period (1947) is featured, including Sonny Berman, Bill
�f Harris, Flip Phillips, along with other notables who slake the film a classic
'x of the top jazz personnel of the mid to late '401s, Louis Armstrong, Barney
Digard, Kid Ory, Russell Moore, Charlie Beal, Mutt Carey, Red Callender, Meade
... Lux Lewis, Bud Scott, Zutty Singleton, Arvell Shaw, Lucky Thompson.
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Some of the songs at Billie's Do you Know what it t�ns to miss NOW Orleans,
iSasin Stteet blues, %atewell to Stotyville, Mabogany Hall Stftp, Maryland,
My Maryland. George Levis playing with Kid Howard's Brass nand were otiainalp
in several musical scenes in the Soviet but were cut out of the final prints.
Bosley Ctothet, reviewing tot the New, York Times said in his teviaw. When the
old Satchmo' blasts upon his trumpet, it is music to strong and durable ears --
providing those ears ate attached to a reasonable admirer of jatt."
7 P.M. Rufus Jones for President - 1933 (20)
This vintage black musical comedy stars Sammy Davis, Jr. as young Rufus.
Ethel Waters, his mother, dreams of Sammy as president -- of the United States
and a singing one, no less. Still, you get more than a glimpse of the wonderful
talents which have subsequently made Mr. Davis one of the most durable black
musical stars ever!
Stormy Weather (77)
"Stormy Weather" is a film constructed out of incidents in the life of Bill
"Bojangles" Robinson. At best the story is sketchy, but who cares! There are
20 fabulous songs danced and sung by one of the most celebrated black casts in
the history of American cinema. Among them, Bill Robinson and Lena Horne walk
away with all the medals, though the rest of the cast is phenomenally talented
and well represented. The moment you see Bill Robinson dancing with the neigh-
borhood children, you will know that everything good you've ever beard about
him is true. While looking through a book of clippings brings the movie to life,
the crux of the story is Corky's (Bill) romance with Selina Rogers (Lena). A
few adventures along the way include a roustabout on a cottonboat to a gig in
a St. Louis cafe, then on to a Chicago musical, a dancer of the Charleston in
1923, to "Trucking" in '33 and finally "Suzy-Q" in 135 before arriving in
Hollywood. We follow Bojangles until Selina gives in. Bill Robinson does more
dancing here than anyone until Fred Astaire comes along. Even Lorna dances up
a storm, and we get a chance to see the legendary Katherine Dunham with her
humorous torch song. Fats Waller livens up the party with his piano and Cab
Calloway and his band perform up their jivey style. Look for Russ Morgan and
his Orchestra, Ray English, Connee Boswell, Elizabeth Talbot -Martin and the
Co-ed Jivesters with the Gae Foster Roxyettes. All in all it's a bail and it
goes like wildfire.
5 P.M. Song of Freedom - 1937 (68)
Paul Robeson agreed to make "Song of Freedom" because he believed that the
film presented blacks honestly, not as the caricatures they had invariably
been in most American films. be appears as a young stevedore who rises to fame
after being discovered singing in a pub. At the height of his operatic career
he learns from an anthropologist that the carved disk he wears, a legacy from
his family, proves him to be the last descendant of a line of African kings.
When he goes to Africa he discovers that possession of the disk is not enough
to gain his tribe's approval. it is the song which has haunted his from child-
hood, the song of freedom which he sings in his powerful voice that finally
8S"'467
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provides the key to .pis acceptance. Mr. Robeson aside "The story presents
be as a real man - no more romantitited than a white flan would be in a
aliilar role. It is the first Step in my effort to break down the prejudice
that Somehow Negroes Faust always be different on the street►." Song of Preedom
was the second of Paul Robeson's Sax British films made between 1929 and 1940.
Lying Lips - 1939 (60)
In "Lying Lips," a nightclub singer is framed for murder and sent to prison,
until her detective boyfriend discovers conniving relatives and an unscrupulous
clubowner at the heart of the crime. The cast Include Edna Mae Harris* Carmen
Newsome and Robert Marl Jones, the father of actor James Earl Jones. 71%ying
Lips" represents one of the triumphs of producer Oscar Micheaux who stands alone
as an example of dogged courage and an undaunted entrepreneurship. Even though
by all popular standards this movie failed technically and fiscally, Micheaux
can still take credit as the first black man to arrange independent distribution
for the films he made. He survived his own naivete, exploitation by Mississippi
Valley exhibitors, personal bankruptcy, awful scripts, severely limited produc-
tion funds, indifferent actors and the rigors of going on the road to theaters
all over the country in order to raise production money for his films. Colonel
Hubert Julian. the Black Eagle of the Ethiopian Air Force, later joined Micheaux
as a financier. Their plan was to make films that would enhance the morals of
the race. Lying Lips was characterised as a film about men who show no respect
for the women of the.race.
Anna Lucasta - 1958 (86)
"Anna Lucasta" began as a Broadway play in the mid-401s. It was a play
about the shame and salvation of a gold -hearted prostitute. Earth& Kitt stars
In the role of Anna, the girl who is driven into a life of shame by a bewildering
chuckle -headed father played by Rex Ingram. Also among the cast are Sammy Davis
Jr., Frederick O'Neal. Georgia Burke. Isabelle Cooley and Rosetta LeNoire.
The farmboy who falls in love with Anna is played by Henry Scott. Henry Scott's
unstereotypical role in "Anna" is said to have set black Cinema back a decade
because he was so unlike any other Negro yet to make a film appearance. It is
probably fair to say that the director didn't know what he had in Earths Kitt.
She is pushed too far into her famous "kitten" persona and perhaps ruins a
terrific movie career. He seems to have had as little vision for the other
actors as he had for Miss Kitt.
Saturday Matinees
I P.M. The Learning Tree - 1969 (107) PG
The story concerns an adolescent boy's initiation in sexq love, death,
Justices and because he is black, a fair measure of racial hatred. Actually,
there are two parallel stories. and two boys. One, boy playing Newt. (Kyle
Johnson) turns out well. The other. Marcus. (Alex Clarke) turns out badlv.
to the mud, the good boy sacrifices the bad boy's father to save a white
}
85-467
a white drunkard (toe an unjust murder tonvittion the bid boy seeks
violent tevenge, but for his Pains gets a bullet in hismback from the town
constable. The director, howeverr askes no glib equations, and knows that
on balance insults are less deadly than bullets. itoger 0reenspuft—In his
review of August 1969: "...when he draws back free his characters, when he
subordinates them to a landscape or a setting (like the courtroom or the
many carefully r¢reated genteel nineteen twenties interior&) Mr. Parks
achieves his beat images and his film takes on a kind of ceremonial vitality
and lifelikeness that it never manages in its passionate actions. I suppose
this slakes it a photographer's movie (Mr. parks is a celebrated still photo-
grapher, and in Burnett Cuffey, he has a superb director of photography for
this film), but a special visual density and an ability to hold a world
together in panoramic view are not bad quaiiti s for starts in trVting the
ambiguities of a remembered life...at its best LSAAW ]Q'G'AEr is rich, r
distanced* cool and sophisticated in its appreciation of formal visual
properities."
3 P.M. Bright Road - 1953 (69)
N
Dorothy Dandridge �ays a young teacher trying to help a withdrawn,
Insecure student played by Philip Hepburn. Harry Belafonte is the supporting
principal of the school. The film is set in a country school. Dandridge is
a talented teakoer wjo brings out the best in each child.
Man and Boy - 1971 (98)
The cast in this movie includes Bill Cosby, Gloria Foster, Leif Erikson,
'
George Spell, Douglas Turner hard, John Anderson and Yaphet Kotto. Bill Cosby
portrays a former Union soldier who has moved his family to a homestead in
the Old Nest at the end of the Civil War. When a valuable horse is stolen,
father and son set out in search of the thieves. They learn about each other
In the hostile, violent West of the 1870's.
7 P.M. Carmen Jones - 1954 (107)
,,•' Carmen Jones, Bizet's Carman. has never known greater popularity than
in the past two or three yeats.WAmong the variations on his theme recently
have been Carlos Saura's flamenco version and Plecico Domingo's straight classic
1lpera edition., In October of 1954, Twentieth Century -Fox came out with its
Otto Preminger.directed iteration, Carmen Jones. Here again. instead of
�. relying on the stories and characters organic to black life. Hollywood chose
to graft onto Bizet's story a cast of the most sought after black talent of
the day. *It had originally been a black Broadway musical, pramleriag in 1943.
iisae Carmen (Dorothy Dandridge) is a cigarette maker and Don Jose (Harry
Belafonte) a factory worker about to to off j"Op lot training. If the people
look a little stiff in their soleso it be what playin against ✓
the incongruity of an operatic score would rdo o tfiV-S performance Some
:y-
of the arias and tempos seem foreign
and unnatural.
85_46`1.
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Monetheleas. "Cairmetr-" has Note talent In it than almost any other files
issde during the SO's wid tot that reason Mies Out to be been. especially
On the big streen. For het tole. Wtothy Dandridge vas the first black
+nominated for an Oscar. if you've ever seen it on television. It will
only rake your enjoyUtht of it as a feature film all the greater. A few
of the little known factst Marilyn Horn dubs the voice of Dorothy Dandridge.
to Vern Hutcherson handles belsfonte►s operatic chores and Marvin Hayes
steps in for Joe Adams. Pearl Bailey is riveting as Frankie.
9 P.M. imitation of Life = 1934 (106)
.note of t11e greeptest American films have been evade under the banner
of 71"fe,"
en's /Liles. Like "Gone With The Wind", Fannie Burst's "Imitation
of directed by John Stahl, is an entertaining movie as well as a
revealing one when it comes to providing a look at black American life and
American life in general. "Imitation of Life" tells the story of a widow's
climb to fame and the tremendous success she makes of her business and the
sacrifice she makes to maintain the love of her daughter. The heroine of
this film is Claudette Colbert, but the support she receives from Luise
Beavers and Fredi Washington, nearly overshadow her in the film. Freda
Washington suffered her good (too white) looks perhaps more than any actress,
Including Lena Horne. She had roles on both sides of the color barrier
denied to her when she was clearly up to all of them. When the role of
Ppols came along, she was a natural and you'll never forget her after you
see her in this film; one of the most satisfying melodramas of all time.
The attitudes towards women in 1934, clearly shown here. make the film an
Interesting study. It is also one of the most perfect examples of escapist
entertainment. Fortunately, it had its basis in truth. For John Stahl,
Imitation of Life was an example of his perfection as a director and his
profound portrayal of noble womankind at the mercy of a callous mankind.
11 P.N. Black Orpheus - 1959 (103)
This film loosely parallels the classic legend of Orpheus and Eury-
dice. The tragic love story illustrates that life could be a garden of
Soy one moment and easily swept away in the next No eovg� thei�s,ac-
ters seem to f low toget es. 4u4 w well - OrpheusX b
excellently portrayedIgThe character of-Vrp�e swvas that of the care -
free, boyish, yet responsible young mon. He wasAself-contained�id..sAe < < .
fascinated by t" ' but only one woman caught his eye. Her
name was Eurydice.
Young Eurydice is an attractive, warm and sensitive girl who seems
to be in constant danger. Her role is masterfully played by dancer Mar-
passa Dawn. The setting is an exotica and festive environment. the fro- '
lac of dancing children, and the excitement of love. The film is rid-
dled with contrasts. Love one moment, hate the next and from happiness
to pain.
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5'f
Sunday Matinees
1 P.M. Green pastures = 1916 (110)
"Green pasture$" vas an adaption of !lore Connelly's Stoadway play. it
was directed by both Connelly and William Keighley and released by Warner
Birothers. It became the first all -black Studio feature since 1929. Imitation
of Life, which had proceeded it had been such a financial success that it
proved once and for all that a film could succeed with blacks in leading roles.
With the growing number of black theaters, the demand ('1ko black genre films
414 #ro sky-r cketed, but it vas poebabfy► th g •run on Roadway that to► d v • '
Green pastures should be made'"+a result of Warner
•-� Brother's risk -taking use one of their biggest hits acid one of the most sue-
cessful "Negro" movies of all time. Lin 19360 the audiences found Green
Pastures a cinematic delight. part of the reason was the way the story was
conceived. At a Sunday school class in Louisiana, a
teacher- _ _ en-
visions the wo dens of the Bible
! � he'siblical characters become his contemporary kinsfolkip
PongA4 Aadam and Eve, Cain, Moses^snd Noah, who is perceptive enough to
always wear a raincoat. The angels,'Seraphim and Cherubim of Heaven, are
also contemporary and are constantly espousing quaint colloquialisms. The
New York Worid_Telessam.hailed it as a beautiful film. The New York Time
ventured: That disturbance in and around the Music Hall yesterday was the
noise of shuffling cueues in Sixth Avenue and the sound of motion picture
critics dancing in the street. The occasion was the coming to the screen
of Connelly's naive, ludicrous, sublime and heartbreaking masterpiece of
American folk drama ... it still has the rough beauty of homespun, the ir-
resistible compulsion of simple faith. Among the cast members are: Edna
Mae Harris, Oscar Polk, Frank Wilson, Eddie "Rochester" Anderson. Clinton
Rosemond, George Reed, Myrtle Anderson and Ernest Whitman. Perfect for a
Sunday matinee.
✓ 3 P.M. Halleluja4_1929 (107) owo
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✓Hallelujah�is released in 1929. The cast included Daniel Haynes, IV
v'•v
Nina Mae McKinney, William Fountaine, Harry Gray, Fannie BellAYaight.. Ve"
aVr director id;King Vidorl'6Hollywood's second all -lack cast film.
Zeke (Daniel Haynes) becomds an evangelist after his brother is killed in
a brawl, but he falls in love with a beautiful lady (Nina Mae McKinney)
and wanders from the path for awhile. After such travailg including a
stint on the chain gang. he returns to the family and the good woman, Mis-
sy Rose (Victoria Spivey). IV
In due time � Hallelujah became not only an American classic. but the
precursor of all Negro skusicalso set
vSing the tone for the treatment of
Negro casts and themes. "Hallelu h�took as its theme the age-old problem
of a good colored boy going bad/Rge battle within him between callings of
the spirit and temptatiowoof the flesh. Nina Mae McKinney emerged as the
first recognised Plack actress of the silver screen.
85-467.
S F.M. Say Amens Somebody - 1083 (100)
George T. ltietenberg's "Say Afton, Somebody" is an exquisite homage
to the inspirational talents of the men and women who populate the world
of biatk gospel. The story focuses on collie Mae Ford Smith# a proto-
typical member of the singing thutth. Bar seeming mastery of family rem
sponalbilities and life In the gospel ministry is the film's brilliant
focal point. Uth foray Into Mother Smith's life brings to light another
aspect of the delicate balante of the tatted and the secular. Another
featured performer is Thomas A. Dorsey, probably the hippest 63 yeatr-old
you'll ever see. Mr. Dorsey is choral director emeritus of the Pilgrim
Baptist Church in Chicago and also presides over the annual National Con•
veation of Gospel Choirs and Choruses which he founded in 1933. Most
people think Gospel is quite old, but in reality it is music born of the
Depression and of Big City life. it's jazzy and bluest' with a strong
rhythm and a good beat. Conflicts abound, usually emanating from the
husbands (for a change) who lay guilt -trips on their wives who travel all
over the world singing. Their ineluctable excuse, probably the most per-
fect bit of oneupsmanshi ever invented by either sex, is "Darling. I'm
✓ doing the work of the L* it For some the battle rages on. Children ac-
cuse parents of neglect and false pretention. #then$ after all, is one a
preacher? When he or she has a pulpit? Or does it come through some di-
vine intervention that is undeniable by the flock? Debated equally. a
moral dilemma that only the twentieth century could produce. "Does one
sing to save souls qr make money?" The music is downright ethereal, per-
haps even cleansingi if you can't get to church, this will lio it for S w.P-
4 Cie, , . .
V
7 P.M. Lillies of the Field - 1963 (97)
J Lillies of the Field is a bright* uplifting movie, and about as per-
fect a Sunday fare as you're about to find. It's a simple story of an
k ex-G.I. who happens upon five nuns who are refugees from behind the Iron
Curtain. The ex-G.I. just wants to earn a little pocket money, but when
the mother superior tells his that he has been sent from God and treats
him as if he has no choice in the matter, the fireworks begin. Add to
that the unlikely fact that the ex-G.I. is a black man and you have the dy-
namics that set the phenomenal career of Sidney Pottier in orbit in 1963.
Part of the charm of this film matches the determination and will of a
young black man against the rock -hard character of a mother superior who
has been through about all the Hell one could find on earth. The sheer joy
that Homer Smith (Sidney Pottier) finds in building and fixing a few things
around the convert easily overcome his incredulity at the way he is being
treated. If these people were simple American nuns. treating him the way,
they do, the 966 revolution might have started in a small town in Arizona.
The wit and charm of this film will forever stand the test of time. and it
serves as a pleasant reminder that as bad as things can be, a little love
and understanding can go a long way towards patching up generations who've
long harbored distrust and prejudice.
85-4611
9 P.M. Cabin in the Sky . 1963 (100)
Vincente Minelli directed Cabin in the Sky with a beautiful light
touch that suited this endearing fantasy to a tea. It tells the story
of Little See Jackson (Eddie "Rochester" Anderson) a harmless ban who
enjoys shooting craps. Me is battled to a decent Cod=fearing woman.
petunia (Ethel waters) but neither of them is aware that the general Of
Heaven and Lucifer Jr. are battling for the right to Jackson's soul.
Lucifer Jr. tries to win his with the temptress Ceorgis Brown (Lens
Horne). The plot is simple, but it is made charming by the wit and in-
moeence that the director and actors pour into it. And what really en-
hances the film are its many guest appearances: Louis Armstrong, Duke
Ellington, the great tapdancer John jub'W1f,. Butterfly McQueen# and I"
Ingram, a former matinee idol. Also,AKin an Moreland, Oscar Polk. Willie
Best, Ruby Dandridge the mother of Dorothy, Nieodemus, Bill galley, Ford
L. Washington, tre��1ia11 Johnson Choir, Duke Ellington's Orchestra and
Ernest Whitman. look for: 'af�king a Chance on Love,'e,46bin in the Sky,"
�ife's pli of Consequences, and "Li'1 Black Sheep " as musical num-
bers whose genesis you've always been curious sbout.� MGM was not kidding
when they cabled this picture an all-star production.
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CITY
CHICAGO
PHILADELPHIA
BOSTON
MIAMI
D.C./MARYLAND
"Lowenbrau Legends of 131ack Cinema*
LOWBNSRAU FILM FESTIVAL
DATE
May 16 - 19
May 23 - 26
May 30 - June 2
June 6 - 9
June 13 - 16
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THEATRE
Fine Arts Theatre
418 South Michigan Avenue
Chicago. III.
Walnut Mall Theatre
3925 Walnut Avenue
Philadelphia, Penn.
Coolidge Corner Movie House
290 Harvard Street
Brookline, Maas.
Gusman Cultural Center
114 East Flagler Street
Miami, Fla.
Riverdale Plaza Theatre
Kenilworth Avenue and
Riverdale Road
Riverdale, MD.
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rILM FESTIVAL SCHEDULE OF SMOGS
THURSDAY AFTERNOON
p.•
"St. Louis Blues"
1929
"Black and Tan
1929
"Symphony in Black"
1935
1934
"Noon over Harlem"
1939
THURSDAY EVENING
P.M.
"Bronze Buckaroo"
1938
"Bronze Venus
1938
Duke Is Tops"
"Now Orleans"
1947
9p.m.
rRiDAY AFTERNOON
"Lying Lips"
1939
1P.M.
"Song of Freedom"
1937
nLDAY EVENING
"Rufus Jones For
1933
7 p.=.
President"
"Stormy Weather"
1943
"Anna Luc&st&"
1958
4.
9 P.M.
SATURDAY AFTERNOON
IfThe Learning Tree "
1969
1:30 p.m.
"Bright Road"
1959
3 p.m.
*%an and of
Boy
1971
SATURDAy EVENING
7 p.m.
"Casten Jones
1954
"Imitation"Imitationof Life" 1934
9 P.M.
"Black Orpheus
1959
11 P.M.
(more)
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Of SHOWINGS Lout'd.
=DAY ArTERNOON
1%30 p.s. "Green Pastures" 1936
3 p.m. "Hallelujah!" 1929
S p.m. "Say Amens 1983
Somebody"
SUNDAY EVENING
f "Lillies of the 1963
field"
9 p.m.
• "Cabin In the Sky" 1943
9 f d
Note: Check local theatres for exact times.
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