Eyes on the Prize III: We Who Believe in Freedom Cannot Rest

I have seen parts of the series in no fewer than 3 academic classes of varrying topics during my time at Pepperdine University. This outstanding series is professional to the core, attracting the biggest names of the day to give interviews (from both Civil Rights fighters to pro-segregationists) and give an honest look at the moment in the 1950's and 1960's. Powerfully moving, it brings me to tears each time I watch certain scenes. As comprehensive as any documentary I've seen, Eyes on the Prize gives the low down on the movement, its highs and lows, and provides a very real perspective on why the events played out as they did. A winner in every sense, I give the PBS produced Eyes on the Prize a 10/10 without a second thought.

Kudos for the series.

The "Trivia" listing for this says that it is no longer being shown due to copyright issues, I am happy to report that they have all been resolved and it is playing on PBS again. The is a really great series and is currently being considered for inclusion in an upcoming series of community screenings and discussions sponsored by Filmmakers Collaborative, called Tracking the American Dream. This will examine the concept of economic upward mobility and the problems of this historical belief and the idea that anyone can grow up to become whatever one wants. It will focus on how mainstream images of the "ideal American life" shifted during various decades of the twentieth century.

In a world where black children search for pride on street corners, and find their idols in drugged out athletes, absent fathers, idiots and zombies, in these television hours lie little glimpses of hope, shining examples of the people who fought and died for love of the future. I make it a point to watch this program at least once a year and show it to anyone who seems to have even a passing interest in tomorrow. Malcolm X, Martin Luther King, Fannie Lou Hamer, The black Panther Party, busing in Boston, political mobilization in Chicago, the fight for freedom has never been given such a detailed depiction. This film is an encyclopedia of black pride and should not only be seen, but should be seen as often as is necessary to restore freedom and democracy to this country.

The late Henry Hampton, director of "Eyes on the Prize," was one of the finest human beings I've ever known. It's bittersweet to read of the licensing challenges faced by Henry's Boston company, Blackside, Inc. That might prove, however, that one cannot "keep a good man and his film down." Eighteen years ago Henry had me doing paperwork for him including transcribing the equivalent of dailies. "All Hours Typing," my Cambridge company, had other employees; but for Henry, I usurped the privilege to type, eyes on monitor, earphones on, at points where spirituals swelled up, spirits soared on screen--breath taking and moving then and now. Then to find later that Henry was one of those "still waters that ran deep"-- having been the key public information player for the broad minded Unitarian Universalist church. This documentary is not only great film making but a tribute to his memory and the Blackside team listed on IMDb plus Judy Richardson, Frank Galvin, and Josh Gordon.

This series (along with the sequel, "Eyes on the Prize II") is a classic documentary that, in many ways, pointed to the techniques later adapted by Ken Burns in his documentaries. Given the availability of film and first-person accounts, as well as photos, this is a far more moving and affecting film. Beginnings are difficult, and one might quibble with how the first part brings the viewer "up to speed" on African American history before the 1950's, the immediate attention to the story of Emmitt Till makes up for much of that missing narrative, by showing in graphic detail the status of African Americans in the United States, particularly the deep South. The rest of the series fills in a great amount of detail in the ensuing decade up to 1965 and the Voter-Rights act of that year.

Three things to point out in detail that made this a strong film. First, the framing of the narrative before Brown v. Board to emphasize that the Brown case did not come about in isolation, but as part of a broader strategy of the NAACP (if you are further interested in this, you should look at "The Road to Brown") led by Charles Houston and Thurgood Marshall. Second, the film did not solely rely on newsreel footage and interviews, but effectively used still photos to convey drama and set pacing. On that last issue, the third point (which may have been for cost and copyright reasons for all I know) was the minimal use of music in the film. Some of the most powerful moments in the film come from a long (4-5 seconds) shot of a dramatic photo with only silence.

Why only 9 stars and not 10? I would like to have seen a bit more in the lead up to the 1950's, and some emphasis on larger context of the Cold War and such -- particularly a bit more on radical African Americans who were targeted by the state for prosecution before the forties, as well as more on the legacies of W.E.B. Dubois and Booker T. Washington as backdrop for later debates within the movement. These are really historical concerns, and overall, the film is worth seeing. I hope that soon the copyright issues will be sorted out so that this can be released on DVD, as many video copies available now are showing their age after many viewings!