African Redemption: The Life and Legacy of Marcus Garvey
Marcus Garvey is one of those historical figures whose name is familiar to many, and perhaps even more familiar is what he stood for, in the most general of terms: Black unity and empowerment across the globe. Beyond that, however, is decidedly less widely familiar, and one of the master strokes of writer/director/editor Roy T. Anderson's documentary is the ample use of the words of the Jamaican writer, orator, and activist himself (taken from a audiobiographical statement by a thirtysomething Garvey, voiced by Paul H. Williams) in parallel to a more traditional, third-person documentary narration delivered with characteristic gravitas and conviction by Keith David (who also produced). Not only do the finer points of his Pan-Africanist ideologies are made all the more clear when delivered in the exact words of the man himself, hearing certain events in his life addressed in his singular writer's voice serves as an insightful window into his personality. From his eloquent descriptions of his parents' demeanors, to his early observation and recognition of the racial divide as a youth, to rather telling quotes such as one where reading the work of Booker T. Washington led to the realization of his "doom" of being a race leader, such first-person illumination into the complexity of his character could never be matched by conjecture from scripted narration or talking head interviewees.
The running use of Garvey's words is not only reflective of the uncommon intimacy of African Redeption, but the remarkable efficiency of Anderson's approach, which makes his film a very accessible introductory piece for what could be seen as a daunting subject. Conventional documentary devices such as the standard narration, interviews with historians and other notables, and historical re-enactments are in evidence throughout, but Anderson uses all of the tactics in the toolbox to make sure the pace and progression of Garvey's life story consistently maintains its forward momentum while still offering deeper clarity, perspective, and expert insight. The brisk pacing, and the resulting 85-minute run time, does mean some stretches of his life get a more succinct summary than others. But never does the film feel like it shortchanges its subject, for the main concern and throughline is never lost: how this man of modest origins from a modest nation was able to develop and organize a movement spanning the world over and whose legacy still strongly inspires and resonates to this day -- and, perhaps, is just as strongly debated. That the latter point -- not simply the power of Garvey's legacy, but the complications of it -- is also explored with substantial attention is another reason why Anderson's fast yet full film is a deeper dive than most historical primers.
Queen of Glory Queen of Glory announces the arrival of an exciting new leading lady and filmmaking voice in Nana Mensah, who stars, writes, and directs. What may not be so fresh are the basic nuts and bolts of the story, in which Sarah (Mensah), a doctoral student in New York eager to make a big move to Ohio, finds those plans -- and her entire life -- upended when her mother passes. While preparing for a traditional Ghanaian memorial and sorting through the affairs of her mother's estate, in particular her Christian bookstore business, Sarah learns lessons about the value of community and her roots, both in her immigrant heritage and her childhood home of the Bronx. The beats and themes are not exactly new, but they blend into an inviting, enticing rhythm all its own, largely due to Mensah's work behind and in front of the camera. The lived-in authenticity in the details of its depiction of the African immigrant community compensates for the more formulaic trappings, and Mensah's charisma, dry wit, and flawed but warm heart make for an appealing and relatable screen heroine.
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