FOLLOWING HARRY (2026, doc)

October 12, 2026

Greetings again from the darkness. Watching someone work so diligently for the greater good and to make the world a better place is so inspiring. And these days, it feels revolutionary and strange. Documentarian Susanne Rostock previously filmed a Harry Belafonte biopic, SING YOUR SONG (2011), and fortunately for our sake and for history, she was able to spend time with him prior to his passing in 2023. Those discussions with the man (in his 90’s) provide insight into what made him tick, what drove his activism, and what he viewed as his final mission.

Many only know Belafonte through his music. “Banana Boat Song (Day-O)” and “Jump in the Line (Shake, Senora)” are two of his biggest hits that continually show up in modern day projects. He began entertaining at age 19, ultimately winning an Emmy, a Grammy, a Tony, and an honorary Oscar (Jean Hersholt Humanitarian Award). Yet despite the accolades, he begins the film by questioning how best to ‘look back on my life’, and wondering “was the time wasted”. Of course, we already know the answer is ‘not in the least’, but Ms. Rostock allows Mr. Belafonte the time to discuss what he worked on and what he accomplished as an activist for doing the right thing.

Archival video clips and photographs document Harry’s time alongside such historical figures as Martin Luther King, Malcolm X, Muhammad Ali, and the Kennedys as the work for Civil Rights proceeded. Belafonte founded The Gathering for Justice, an organization dedicated to mobilizing communities to ensure justice for all. We see Belafonte speaking out after the Trayvon Martin incident and Black Lives Matter movement, and his push for the Women’s March. Quite telling is his interaction with actor Jamie Foxx, who absorbs the lessons being taught by Belafonte.

We feel Harry’s frustration when, in 2016, he was organizing a concert, and many big stars reported that it was “inconvenient”, providing a crystal-clear example of how so many benefit from the sacrifices of those who come before, yet are unwilling to follow in those steps. The difference in eras is quite remarkable, and Belafonte worked until his final days in educating the new generation on history and attempting to pass the torch. He left a legacy of encouragement and inspiration meant to provoke thought, discussion, and ideas … even though speaking out carries a price. So, when Harry wonders if his time was wasted, we absolutely know that he made the world a better place. Harry Belafonte’s legacy lives on as an example of a uniter.

Releases nationwide and in Canada on Amazon, Apple TV and other major VOD platforms on October 13, 2026

WATCH THE TRAILER

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Posted by David Ferguson

BLACKKKLANSMAN (2018)

August 9, 2018

 Greetings again from the darkness. Adam Driver impersonating John David Washington or vice versa … either way is comical, except that it’s also based on a true story where their characters existed and this chain of events actually occurred. The source material is the memoir by Ron Stallworth and it’s possible, given today’s social climate, that only director Spike Lee could pull off a film that so blatantly uses racism for comedic effect, yet also reminds us of its inherent danger.

Mr. Washington (Denzel’s son) plays Ron Stallworth, Colorado Springs’ first black rookie police officer. His job interview is quite awkward and, of course, features a reference to Jackie Robinson. Quickly growing tired of his records room duty, Stallworth’s first field assignment is to infiltrate a local black activist group and report back on a Stokely Carmichael/Kwame Ture (Corey Hawkins) event. This leads to a much bigger and riskier plan of going after the KKK. Yes that’s right, no need to re-read the part about him being the first black police officer. This is the incredible story of how an African-American (with the help of his white partner) worked his way into the KKK, even speaking with David Duke on a few occasions, and ultimately prevented an attack on local black activists.

The adapted screenplay was a collaborative effort from Charlie Wachtel, David Rabinowitz, Kevin Willmott, and director Spike Lee. The film is simultaneously laugh outloud funny and provocative. The outlandish plan involves Ron Stallworth (and his white voice) being the telephone connection, and partner (and non-practicing Jew) Flip Zimmerman (Adam Driver) being the “white face” of Ron Stallworth at KKK meetings. There is extreme tension during Zimmerman’s undercover scenes, and much of the humor occurs during Stallworth’s phone conversations. Topher Grace is extremely effective as David Duke, a thankless role to say the least.

Superb support work is widespread in this film that runs 2 hour and 15 minutes. Robert John Burke plays a no-nonsense Chief Bridges; Frederick Weller is racist jackass patrolman Andy Landers; Laura Harrier is Patrice, the Angela Davis lookalike activist and love interest; Jasper Paakkonen plays skeptical and high-strung Klansman Felix; Paul Walter Hauser (I, TONYA) is the comical and unnerving Ivanhoe; and even Harry Belafonte makes a surprise big screen appearance. Other notables include Alec Baldwin (in an opening that sets the stage), Nicholas Turturro, Damaris Lewis, Ryan Eggold, Isiah Whitlock Jr, and Arthur J Nascarella. It’s a terrific and deep cast and they walk the fine line between entertainment and enlightenment. There is no shortage of Hollywood family genes and blending thanks to: Washington, Baldwin, Turturro, Buscemi, and Weller (it plays like 2 degrees of separation).

A low-budget look to the film gives it an authenticity and 1970’s vibe, and cinematographer Chayse Irvin works wonders with the camera in a multitude of situations where our attention should be on the dialogue of the characters rather than the colorfulness of set pieces. Black Ron running the show from a telephone (and a white voice) and White Ron face-first in the muck both have their burdens to bear, and much of the time, Zimmerman’s is the more interesting of the two – although as a whole, it’s an astonishing story.

Perhaps Spike Lee set out to make the polar opposite of D.W. Griffith’s 1915 most controversial film THE BIRTH OF A NATION, and he has certainly crafted one of the most effective films of his oeuvre. He also nails a few jabs at Trump and the current political climate, while the music from Terrence Blanchard perfectly complements the tone. Mr. Lee interjects some historic moments as well as some fictional ones – none more powerful than the back and forth chants of “White Power” “Black Power”. At the conclusion, Lee serves up footage of Charlottesville, reminding us that the racism that caused us chuckles over the past couple of hours, remains prevalent today … only that’s not the least bit funny.

watch the trailer:

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Posted by David Ferguson