It’s just another pile of New York City bricks with a neon-lit
marquee, technically. But if you’re in Harlem and walk down 125th street
between Frederick Douglass Boulevard and Adam Clayton Powell Jr.
Boulevard, the presence of The Apollo Theater is unmistakable.
The Apollo documentary, premiering on HBO on Wednesday, November 6, attempts to illustrate its cultural significance in black history for the past 85 years. And considering the venue is famed for its amateur nights in which performers were either cheered or booed with zeal, it’s fitting that the film is a rousing success.
The blur of archival images at the outset reminds us of the generational scope of the Apollo’s impact: Duke Ellington, Louis Armstrong, Bo Diddley, Gregory Hines, Stevie Wonder, Gladys Knight, LL Cool J, Redd Foxx, Chris Rock and Will Smith all took the stage at some point in their careers. When they played to the audience — 1506 patrons at full capacity — they knew in their bones this wasn’t just any gig. The Apollo represented a space where black audiences could gather under even the most trying of circumstances to witness and judge popular art by their own standards. Jeering aside, this was a safe haven. Jamie Foxx, Angela Bassett and activist Herb Boyd are some of the luminaries that express how the top-notch entertainment at the Apollo has always been secondary to the rich communal spirit.
Director Roger Ross Williams (an Oscar winner for the short Music by
Prudence) weaves through performance and politics, past and present.
Resident historian, tour director and ambassador Billy “Mr. Apollo”
Mitchell — he’s worked on the premises since 1965 — serves as our
congenial guide (and frames the narrative), guiding curious pedestrians
through the halls and delivering a more traditional overview to the
It was white entrepreneur and promoter Frank Schiffman who opened the theater
in Harlem in 1934 as a talent showcase. The real estate became hallowed
ground almost immediately thanks to the craftsmanship on stage and the
business savvy behind the scenes. The hard-nosed Schiffman kept typed
index cards of every artist and noted everything from temperament to
ability. On Charlie Parker: “Excellent musician.” On Dizzy Gillespie:
“Not prepared.” Dizzy Gillespie!
The anecdotes that accompany some of these names are delicious in detail. In a remarkable account, a shy 17-year-old named Ella Fitzgerald originally planned to dance during the first year of Amateur Night in 1934. But after seeing the Edwards Sisters light up the stage with their synchronized steps, she decided to sing instead. She started scatting to Hoagy Carmichael’s “Judy” and took home first prize. A few years later, Ralph Cooper, who created and hosted Amateur Night, scouted Billie Holiday and convinced Schiffman to give her a shot. She performed the haunting protest song, “Strange Fruit.”
Several artists give their own first-hand recollections,
and, mercifully, don’t do it wearing rose-colored glasses. Smokey
Robinson waxes about how he and the Miracles had to share a cramped
eighth-floor dressing room and work their way down based on success;
actress Leslie Uggams recalls her first show there and says she was
getting ready to leave when she was told she had to grind through four
more that very day. (Performers typically did 29 shows a week!). Even
Aretha Franklin, in an interview filmed just before her 2018 death,
laments that she’s still waiting on the money that Schiffman owed her.
like most music-themed documentaries, the raw footage is the star of
the show. And while it’s always amusing to gawk at acts before they hit
it big, the videos here offer proper context to a specific time and
place in our history. Consider that Richard Pryor elicits howls of
laughter from the audience as he peppers the N-word throughout his
stand-up material. Meanwhile, James Brown fearlessly declares, “Say it
loud, I’m black and I’m proud” amid the civil rights riots of 1968.
(After he died in 2006, the funeral
was held at the Apollo as a tribute to both the venue and the
hardest-working man in showbiz.) Barack Obama was the first sitting
president to visit; he promptly brought down the house by crooning a few
bars of Al Green’s “Let’s Stay Together.”
The performances weren’t all groundbreaking crowd-pleasers. Though pre-teen, pre-Fugees Lauryn Hill covering a Smokey Robinson classic could be viewed in hindsight as a sign of her prodigious talent, the audience boos her. Off-stage, The Apollo endured its own hardships. Williams breezes through its woeful chapter in the 1970s when the site had to close due to bankruptcy. Manhattan borough President Percy B. Sutton tried but failed to turn it around financially. It’s now a federal and city landmark run by the state of New York.
Can this historical attraction remain mythical? After all, Harlem
itself is now so gentrified that The Apollo is located across from,
yikes, The Gap. The jazz greats that once breathed life inside that
theater have given way to acts like Lady Gaga and Guns N’ Roses.
These facts also go without mention. But Williams wisely culminates his
film with a 2018 all-star on-stage reading of Ta-Nehisi Coates’
“Between the World and Me,” a manifesto to the experience of being black
in America. No singing, no dancing, no jokes. It’s a strong statement
on the social and political meaning behind every artistic performance: A
community can indeed find healing through the power of art.
The Apollo premieres on HBO on Wednesday, November 6.
A space like the Apollo Theater, Harlem’s high church of American
music, didn’t just play host to up-and-comers, storied legends and
energetic wannabes — it amplified the sound and spirit of black
entertainment in a way that reverberated far outside its walls.
movie tasked with celebrating its 85 years as a cultural landmark would
have its work cut out for it, which makes Oscar-winning filmmaker Roger
Ross Williams’ beautifully turned, rich and moving documentary “The
Apollo” a true gift for these turbulent, who-are-we? times: essential
history and quintessential performance expertly woven together to remind
us what lasting, vibrant artistry and community looks like. From the
heyday of jazz to the sweetness of soul and the power of hip-hop — with
the reality of race ever present — Williams offers up a celebration worthy of the Apollo’s legacy.
its blend of the archival, the interviewed, and modern-day footage, the
first miracle of the film is that it never feels overstuffed with
talking heads, or perfunctorily assembled, or rushed in covering its
many glories across nearly a century. It’s a real beating-heart tribute,
always streaked with feeling, whether joyous or poignant. That’s partly
because the theater’s spirit, from its Depression-era launch as a mixed
hot spot at a time when black people couldn’t patronize nightclubs in
their own backyard, always intertwined excellence in black entertainment
— launching the careers of Ella Fitzgerald, Billie Holiday and Stevie
Wonder, and cementing the live chops of countless others across music,
dance and comedy — with the notion that simply being on that stage, in
that audience, constituted not only a vital act of expression, but also a
feeling of home. It’s why Williams always threads in footage old and
new of the block’s streets and citizens among the glittering stories and
stars, as if to stress that the Apollo was as much a good neighbor as a
Williams makes the potent choice to bracket this
history with a verité glimpse of the Apollo’s behind-the-scenes
preparation for a multimedia staging of Ta-Nehisi Coates’
galvanizing book, “Between the World and Me.” Coates’ words of
ceaseless struggle and fierce belonging echo through the film as we see
Holliday make the Apollo a safe space for protest music with “Strange
Fruit” (which she was pressured not to perform), favorite son James Brown
anthemize the civil rights era with “Say It Loud — I’m Black and I’m
Proud,” and truth-to-power rap artists flood the stage in the ’80s.
Just as inspiring is the tradition surrounding the Apollo’s fabled
amateur night — the world’s longest-running talent show, a lively format
by which the untapped (who have included Ella Fitzgerald and Lauryn
Hill over the years) can command the spotlight, and perhaps earn a
famously boo-ready crowd’s hard-won love. But like a lot about the
Apollo, it’s the opportunity to give voice to that which lies behind
this beloved rite. Cincinnati student Bianca Graham traveled to New York
by bus to perform a soaring rendition of Whitney Houston’s “I Have
Nothing,” and when she tears up at the memory of a friend shot and
killed by a cop, you can believe the theater’s soul must course through
each and every respect-paying hopeful that hits its stage.
The anecdotes are like music too, with spirited tales of nerves, awe
and camaraderie from Smokey Robinson, Leslie Uggams, Patti Labelle and
Pharrell Williams, and necessary context from backstage overseers like
former owner Bobby Schiffman, current President Jonelle Procope and
historian/tour guide Billy Mitchell. From these reverent insiders, and
Williams’ graceful stewardship, comes a lasting portrait of an artistic
institution that’s seen ups and downs but continues to thrive by
bringing people together and getting the most out of many of them. It’s
hard not to forget an early clip of Ella Fitzgerald and what she heard
way on that amateur night in 1934 when her then-unknown teenage self
balked at following the crowd-slaying, legendary Edwards Sisters with
her own meager dance routine.
A man yelled, “You’re out here, do something.” So she sang.
As usual, the pack of docs is insane. It will be extremely hard to reduce them to 5. I half wonder, as I do every year, if the Academy ought to give docs a bigger presence at the Oscars – a whole Oscars for DOCS, even, that honor things like writing and directing, etc. Either way, here are the films selected for the shortlist.
Apollo 11, Amazing Grace, American Factory, For Sama, Cunningham, Sea of Shadows, the Biggest Little Farm are a few that have made some noise already.
The 2019 Awards will be presented during a ceremony at Paramount Studios in Los Angeles on Saturday, December 7. Tickets are on sale now.
IDA Documentary Awards 2019 Features Shortlist
Advocate (Israel, Canada, Switzerland. Directors and Producers: Rachel Leah Jones and Philippe Bellaiche. Producers: Paul Cadieux and Joelle Bertossa)
Amazing Grace (USA / NEON. Producers: Alan Elliot, Tirrell D. Whittley, Sabrina V. Owens, Joe Boyd, Rob Johnson, Chiemi Karasawa, Spike Lee, Angie Seegers and Joseph Woolf)
American Factory (USA / Netflix. Directors and Producers: Steven Bognar and Julia Reichert. Producers: Jeff Reichert and Julie Parker Benello)
Apollo 11 (USA / NEON and CNN Films. Director and Producer: Todd Douglas Miller. Producers: Thomas Petersen and Evan Strauss)
Aquarela (UK, Germany, Denmark / Sony Pictures Classics. Director: Victor Kossakovsky. Producers: Aimara Reques, Heino Deckert and Sigrid Dyekjær)
Black Mother (USA / Grasshopper Film. Director and Producer: Khalik Allah. Producer: Leah Giblin)
Cunningham (USA, Germany / Magnolia Pictures. Director and Producer: Alla Kovgan. Producers: Helge Albers, Ilann Girard, Elizabeth Delude-Dix, Kelly Gilpatrick and Derrick Tseng)
Dark Suns (Canada / Dogwoof. Director and Producer: Julien Elie)
Diego Maradona (UK / HBO. Director: Asif Kapadia. Producers: James Gay-Rees and Paul Martin)
EARTH (Austria / KimStim. Director and Producer: Nikolaus Geyrhalter. Producers: Michael Kitzberger, Markus Glaser and Wolfgang Widerhofer)
For Sama (UK, Syria / PBS Distribution, FRONTLINE. Director and Producer: Waad al-Kateab. Director: Edward Watts)
Hail Satan? (USA, Sweden / Magnolia Pictures. Director: Penny Lane. Producer: Gabriel Sedgwick)
Honeyland (Macedonia / NEON. Director: Tamara Kotevska. Director and Producer: Ljubomir Stefanov. Producer: Atanas Georgiev)
Kabul, City in the Wind (Netherlands, Afghanistan, Germany. Director: Aboozar Amini. Producer: Jia Zhao)
Lemebel (Chile, Colombia / Compañía de Cine. Director and Producer: Joanna Reposi Garibaldi. Producer: Paula Sáenz-Laguna)
Midnight Family (Mexico, USA / 1091. Director and Producer: Luke Lorentzen. Producers: Kellen Quinn, Daniela Alatorre and Elena Fortes)
Midnight Traveler (USA, UK, Qatar / Oscilloscope Laboratories. Director: Hassan Fazili. Producers: Su Kim and Emelie Coleman Mahdavian)
One Child Nation (USA / Amazon Studios. Directors and Producers: Nanfu Wang and Jialing Zhang. Producers: Christoph Jörg, Julie Goldman, Christopher Clements and Carolyn Hepburn)
Our Time Machine (China / POV, Da Xiang. Directors and Producers: Yang Sun and S. Leo Chiang)
Present.Perfect. (USA, Hong Kong / Burn The Film. Director: Shengze Zhu. Producer: Zhengfan Yang)
Roll Red Roll (USA / POV. Director and Producer: Nancy Schwartzman. Producers: Steven Lake and Jessica Devaney)
Sea of Shadows (USA, Austria / National Geographic. Director: Richard Ladkani. Producers: Walter Kohler and Wolfgang Knopfler)
The Apollo (USA / HBO. Director and Producer: Roger Ross Williams. Producers: Lisa Cortés, Jeanne Elfant Festa and Cassidy Hartmann)
The Biggest Little Farm (USA / NEON, LD Entertainment. Director and Producer: John Chester. Producer: Sandra Keats)
The Cave (USA, Syria, Denmark / National Geographic. Director: Feras Fayyad. Producers: Kirstine Barfod and Sigrid Dyekjaer)
The Edge of Democracy (USA, Brazil / Netflix. Director and Producer: Petra Costa. Producers: Joanna Natasegara, Shane Boris and Tiago Pavan)
The Feeling of Being Watched (USA / POV. Director: Assia Boundaoui. Producer: Jessica Devaney)
The Hottest August (USA, Canada / Grasshopper Film. Director and Producer: Brett Story. Producer: Danielle Varga)
The Proposal (USA / Oscilloscope Laboratories. Director: Jill Magid. Producers: Charlotte Cook, Laura Coxson and Jarred Alterman)
This is Not a Movie (Germany, Canada / National Film Board of Canada. Director: Yung Chang. Producers: Anita Lee, Allyson Luchak, Nelofer Pazira and Ingmar Trost)
IDA Documentary Awards 2019 Shorts Shortlist
30 for 30 Shorts: Mack Wrestles (USA / ESPN. Directors and Producers: Taylor Hess and Erin Sanger. Producers: Erin Leyden and Gentry Kirby)
A Love Song for Latasha(USA. Director and Producer: Sophia Nahli Allison. Producers: Janice Duncan and Fam Udeorji)
After Maria(USA / Netflix. Director: Nadia Hallgren. Producer: Lauren Cioffi)
All Inclusive(Switzerland / Some Shorts. Director: Corina Schwingruber Ilić. Producer: Stella Händler)
Black to Techno(USA / Frieze. Director: Jenn Nkiru)
Easter Snap(USA. Director and Producer: RaMell Ross. Producers: Joslyn Barnes and Su Kim)
In the Absence(USA, Korea / Field of Vision. Director: Yi Seung-Jun. Producer: Gary Byung-Seok Kam)
La Bala de Sandoval(Ecuador / Vtape. Director and Producer: Jean-Jacques Martinod)
Learning to Skateboard in a Warzone (if you’re a girl)(UK, USA, Afghanistan / Lifetime Films, A&E IndieFilms. Director: Carol Dysinger. Producer: Elena Andreicheva)
Lost and Found(USA, Myanmar / National Geographic. Director: Orlando von Einsiedel. Producers: Mark Bauch, Harri Grace and Dan Lin)
Marielle and Monica(Brazil, UK / The Guardian. Director: Fabio Erdos. Producer: Marina Costa)
Sam and the Plant Next Door(UK / The Guardian. Director and Producer: Omer Sami)
Scenes from a Dry City(USA / Field of Vision. Directors and Producers: Simon Wood and Francois Verster)
Show Me the Way(USA / Topic.com. Director and Producer: Kate Kunath)
St. Louis Superman(USA / MTV Documentary Films, Al Jazeera Witness and Meralta Films. Directors and Producers: Smriti Mundhra and Sami Khan. Producer: Poh Si Teng)
The Love Bugs(USA. Directors and Producers: Allison Otto and Maria Clinton)
The Nightcrawlers(USA, Philippines / National Geographic. Director: Alexander Mora. Producers: Joanna Natasekura, Doireann Maddock and Abigail Anketell-Jones)
The Separated(USA / The Atlantic. Director and Producer: Jeremy Raff)
The Unconditional(USA. Director and Producer: Dave Adams. Producers: Adam Soltis, Renee Woodruff Adams, Josie Swantek Heitz and Chris Tuss)
Valley of the Rulers(Serbia, Israel. Director: Efim Graboy. Producer: Dejan Petrovic)
The 35th Annual IDA Documentary Awards honorees, were announced earlier this week. The honorees are:
Academy Award and Primetime Emmy-winning filmmaker (and five time Academy Award nominee) Freida Lee Mock (Maya Lin: A Strong Clear Vision, Anita) who will receive the Career Achievement Award
Emmy nominated filmmaker Rachel Lears (Knock Down The House, The Hand That Feeds) who will receive the Emerging Doc Filmmaker Award
Reporters Committee for Freedom of the Press, which provides pro bono legal representation and other legal resources to protect First Amendment freedoms and the newsgathering rights of journalists, who will receive the Amicus Award
And the film foundation and production company Cinereach that will receive the Pioneer Award