¿¡Soy lo bastante negro para ti!?

This documentary starts out interesting with lots of historic facts about the earliest black movies that were made, with lots of interesting interviews by big Hollywood names like Samuel L Jackson, Whoopi Goldberg, Harry Bellafonte and Sidney Poitier.

The bad: but after an hour this documentary veers of into all sorts of directions, becoming disjointed and long in the tooth.

It is as if this director simply had no control over his urge to namedrop as many film classics as possible and then start analysing what was wrong with them.

Recommended watch for the first hour, but I fear not many will stay focussed till the very end, because this documentary unfortunately peters out after the first hour.

This does cover black cinema from really the 1930's to 1980's. Everything outside of that is an afterthought at most.

Unfortunately, there are two major problems with this documentary. First is it skips over a lot. If not completely skipping it only skims the surface of those films, performers and filmmakers. Some of which it can be argued are more important that a lot that was included. Often they opted to cover & present as more influential fairly obscure films (never even released on DVD) rather than more successful films. Still what it did cover was entertaining.

Second, it made it sound like much of black cinema especially the 1960's to 1980's was only for black film goers. Some of these movies were successful because they also reached a white or other audience. Movies like Shaft, Coffey & others they mentioned were simply excellent movies with excellent performances, period. Funny they kind of mention that Motown music was only for black audience. Ridiculous. Even the Beatles recorded a couple of Motown songs.

I will rate this 7 out of 10, mainly for being entertaining. Plus I did learn about some films I've never heard of.

A brilliant encyclopedic survey of black cinema. The interviews are revealing and entertaining. There is a lot that is covered and it is organized well. I will be referring to this documentary repeatedly to watch films I haven't seen and never heard of. This film coupled with the black horror film documentary "Horror Noir" will feed the curious mind, enthralled by black cinema and its progression.

One of the more unexpected aspects is it's inclusion of experimental films, from animation to split screen. There is minimal focus on this but it does highlight ambitious storytelling and filmmakers responses to a restrictive system.

There's a lot of truths in here, but an awful lot of assumptions made, which is supposed to be the antithesis of this.

Lady Sings The Blues- I was young when my mom took me to see this in the theater. I was 8, but I was told this was an important movie of an historical figure that needed to be implanted into my young mind. I honestly don't recall the makeup of the audience but I do remember the seats being packed, and being angry at the end. My mother explained to me how important Billie was to music today, and how awful humanity can be to one another.

That's a pretty heavy message to lay on an 8-year olds head, but the message was not lost on me. My point is, not every white person was avoiding important black films and during the 70s, racism was being addressed and a lot of white people were horrified. Growing up in and around Madison, WI, there were quite a few black children in my class, and it honestly never occurred to me that they were anything other than classmates, and some were my friends.

As I grew, things like Roots, Blazing Saddles, Mahogany, Car Wash and stealing listens to my dad's Pryor and Red Foxx albums dot my youth and it wasn't ever presented as anything other than entertainment- my parents weren't 'white knighting' for black culture,!there was just pop culture and skin color had nothing to do with it.

Now, make no mistake, I'm certainly not saying there was no racism, no ignorance, stupidity, but not everyone was a racist hilljack from Alabama- it just didn't occur to us to judge anyone by anything other than their character and fortitude.

I find it a little odd that there's not a single reference to Roots- how does one discuss black film and dismiss out of hand this important contribution? I remember being a teen and seeing Richard Pryor and Gene Wilder in a few buddy movies, along with Gregory Hines and Billy Crystal- there was significant overlap in racial viewing, and bands mentioned like EWF, along with other funk bands like Commodores, Sly and the Family Stone, Rick James, etc that had soaring success with as many white fans as black.

It's ironic that Poitier declined to be interviewed for this, and speaks volumes when the producers list includes conspicuously white names like Steven Soderbergh and David Fincher. I'm not sure what purpose is served by this doc, and what the intended consequences are- there's no amount of revisiting the issues that will change the outcomes, and the outcomes intended here aren't necessarily that of truthfulness, either. Billy Dee Williams had a significant impact on the genre of film, as did Sidney Poitier, Denzel Washington, Morgan Freeman, the list goes on and on.

If been an on and off listener (if I find the guest interesting) of The Treatment for way over a decade by now. So for a long time I've been aware that Elvis Mitchell is a very smart and thoughtful person. When I found out Mitchell did a documentary on Black Cinema I instantly watched it.

The documentary mainly focuses on Blaxploitation movies of the 1970s, basically 1968-76, the introductory bit deals with movies before that time. Killer of Sheep and Symbiopsychotaxiplasm get special non-Blaxploitation mentions. I'm not sure I heard Blaxploitation discussed from an afro-american perspective before, certainly not to this extend. Like most people of my generation I learned of these films first from Tarantino. Who as Mitchell points out here got his start by putting dialogues common in black films into the mouth of his white actors. Which, as much as you might dislike that take, is true. And yes you want so say: But, Samuel L. Jackson... and I tell you: he is not in Reservoir Dogs. Now, is he? He is in this documentary though.

Mitchell make quite a number of other interesting point throughout, highlights some of the forgotten pioneers and gives you a good overview of the film of that time. Unless you are easily offended by black view points and you are interested in movies, this is way worth your time. Does it at times makes points I disagree with. Sure, but I am an adult, I don't need people to agree with me 100% to find it interesting what they have to say. And yes sure it could have talked about more or other movies, but it already crammed a lot into it's run time.

Ps. I read in another review here that is very telling that Sidney Poitier wasn't interviewed for this. No, it isn't. Poitier already quite sick by that time, do your f--ing research. Do you really think Poitier was not aware of the things Mitchell says about his career? I'm a white European and I was aware of them beforehand. Also, if you want to know why Roots isn't discussed, because this is about movies not TV.