Unclogging the Pipeline for Black Artists

Though I am a determined fan of Times movie critic Kenneth Turan, I was severely disappointed by his review “ ‘Higher Learning’ at Singleton U” (Calendar, Jan. 11). I had the pleasure of attending the premiere of John Singleton’s third feature and I must say right off that I have seldom been prouder to be an African American. Make no mistake about it, Singleton is a formidable talent who has a firm grasp on the craft as well as the art of making movies.

In “Higher Learning,” Singleton uses the university campus as a metaphor for America with dazzling effect. “Higher Learning” is a complex and compelling dramatization of the pursuit of the American Dream and the ramifications thereof. The college campus serves Singleton well as a perfect microcosm, for it attracts all ages, colors and creeds and classes from around the world.

A film is shot on the set, but it is made in the editing room. I’m sure that Singleton was probably urged to put some of “Higher Learning’s” more consciousness-raising scenes on the proverbial editing room floor for the sake of “moving the story on.” People just are not used to an African American film moving with the deliberate and delicate rhythm of “Higher Learning.” What Turan mistook for “presenting problems (and not) dramatizing them” was simply “Higher Learning’s” courageously dramatic pacing style.

I would be remiss should I not mention the towering performance of Ice Cube, who gave compelling proof that “less is more.” Like the coupling of Scorsese and De Niro, the Singleton and Ice Cube partnership is singular and formidable. It seems that, not unlike the character of Too Sweet in my own “Penitentiary” trilogy, Ice Cube is Singleton’s alter ego. Methinks Singleton probably asks himself, “What would I ideally do in this situation?,” and answers the question with the actions and dialogue of Ice Cube.

I do agree with Turan that Michael Rapoport’s performance was “interesting.” However, I can hardly wait to see Regina King in a lead role. King, who drew no critical assessment from Turan, has a talent reserve to match the Fed. From her memorable role in “Boyz N the Hood” and her excellent portrayal of Janet Jackson’s best friend in “Poetic Justice” to her supportive friend role in “Higher Learning,” King has proved the axiom: There are no small roles if the actor’s talent is big . King’s performances alone should force the film community to take notice of the ocean of tremendous African American talent bubbling right beneath the surface of mainstream Hollywood.

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As in 1991 when there were 19 films directed by African American filmmakers (“Boyz N the Hood” and “New Jack City” and my own “Street Wars” among them), the past Martin Luther King Jr. birthday weekend was a watershed in that two of the three top films in domestic box-office receipts were films by African American directors (“Higher Learning” and Ernest Dickerson’s “Demon Knight”). Moreover, these films could not be about more diverse subjects--social drama and horror.

When is Hollywood gonna learn? Gordon Parks’ “Shaft” saved MGM from financial ruin some 20 years ago. Now comes “Higher Learning” to save the day for Sony.

Ironically, according to statistics from the Directors Guild of America (based on quarterly figures submitted by the studios and networks), Sony has one of the worst records in the entertainment industry on female and minority hiring.

Well, as founder of the DGA’s African American Steering Committee, I’m here to say that there’s plenty blame to go around. The question, however, is what are we going to do to change things? There is a clause (15-201) in the DGA Basic Agreement that states that “producers shall use good faith efforts to increase the number of women and minorities working in the industry.” DGA statistics indicate that over the last decade since that clause was included into the Basic Agreement, minority hiring has not only not increased but it has decreased.

Now, something exciting this way comes and it is Singleton. I love the pretty ideal that Singleton represents the quintessentially American scenario of the Young, Gifted and Black performing magnificently when given the chance.

Analogous to the Harlem Renaissance of the ‘30s and ‘40s, this is the era of the South-Central Renaissance . The Everyman is gaining access to the means of production. The Hughes twins (“Menace to Society”) learned the fundamentals of directing with a camcorder. Dr. Dre first produced his music in his living room on equipment readily accessible to us all. This is the year 1995 AS (After Spike), the time of Charles Burnett and Julie Dash and Neema Barnette and Haile Gerima and Ben Caldwell and the Hudlins and the Van Peebles and Jackson/McHenry, yet the entertainment industry still drags its feet.

Hollywood can do anything that it wants to do. Had the industry really wanted to apply “good faith efforts” to enforce DGA article 15-201, believe me the hiring figures on minorities would certainly not have retrogressed. African American filmmakers have much to say that is vital, vibrant and original and important but the valves of the media pipeline through which our art attempts to flow remain clogged. But the pressure is building! The talent of African American directors like Singleton screams to the entertainment industry: “Open up the entertainment pipeline! You have nothing to lose but your red ink!”