LFF 2011 Review: THE BLACK POWER MIXTAPE 1967-1975
It's a dizzying mess of perspectives and lacks a firm head on its shoulders, but history buffs will find this assembly of footage – largely unseen outside of Sweden – to be riveting and important.
rating: 3
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While feature films, both those rooted in a firm reality, such as Spike Lees Malcolm X, and those drawing allegorical points about race relations, such as American History X, are a dime a dozen, you positively have not seen it depicted like this. The Black Power Mixtape 1967-1975, a documentary pieced together from Swedish television footage by director Göran Hugo Olsson, is unique in that it presents the jostling between black Americans and the establishment from an apparently neutral perspective, or at least one more affirmatively impartial than the sorts of coverage i.e. propaganda on either side that were used to. While it only examines a brief window of the civil rights movement, it is a crucial one, beginning with Martin Luther Kings famous bus boycott and the passionately oppositional philosophy of Black Panther spokesman Stokeley Carmichael, while overlaying voiceover input from both those involved who remain alive today, and contemporary black figures as well. The real allure to viewers and fans of history, however, will be the sheer rarity of the footage; gestating in a vault somewhere in Sweden for the last four decades, most of these vignettes havent really been seen outside of Sweden, purportedly because thats the way the American administration would have it. Director Olsson presents his glossary in a music-video format, with a fast pace which keep things from ever getting too dry even if it is a fundamentally academic excursion. This approach is surprisingly effective in crafting a narrative-like style which concisely summarises the most important period of the Black Power movement, such that it is liable to be interesting for both history buffs and those relatively unaware of the movements intricacies. Though it is certainly guilty of breezing through a few of the middle years in just a number of minutes, it is clear that Olsson has studiously considered his material and cut his film meticulously to deliver the maximum punch.