Seven Songs for Malcolm X

Seven Songs for Malcolm X is an American documentary film that was directed by John Akomfrah, written by John Akomfrah and Edward George, and produced by producer Lina Goupal. The production companies the Black Audio Film Collective, John Akomfrah’s London based company, and Channel 4 Television Corporation were both involved in the production of this documentary film. The film was released in Canada on September 15, 1993 at the Toronto Film Festival, in October 1993 at the Chicago International Film Festival, and then on March 15, 2009 it was released in the Czech Republic at the One World Film Festival. The film was distributed by Channel 4 Television Company. The documentary film was filmed in London and has a runtime of 52 minutes.

Film Content

The film is pays homage to the life and the legacy the African American activist Malcolm X who born on May 19, 1925 in Omaha Nebraska, by the name Malcolm Little, and whom was assassinate on February 21, 1965 in New York City, New York by members of the Nation of Islam. The film examines Malcolm X’s life from pre-birth up until his assassination by a series of narrations and by dramatic reenactment pertaining to specific accounts of his life. The series of narrations are conducted by members of Malcolm X’s family, former Malcolm X aides, eye witnesses, scholars of history, social analysts and quotations from Malcolm X’s book “The Autobiography of Malcolm X”. The film begins with narration from Cocoa Fusco saying, “FBI report June 12, 1964; anonymous called at 1:40 says Malcolm X will be bumped off.” This is followed by several quotes from Malcolm X as well as picture of each person who will speak throughout the film. This followed by spoken words from attorney William Kunstler saying, “I met him just a week or so before he died at an airport and he told me that he had had a telephone call with Martin Luther King Jr. and they were going to meet and try to amalogate their two forces…divide the country into north and south, Martin in the south and Malcolm in the north. It would have been a great movement with the two charismatic men. And I think that the government had to stop that at any cost.” This leads into further description of the day that Malcolm X died by eye witnesses: Yuri Kochiyama (community activist), Betty Shabazz (Malcolm X’s wife), and Imam Benjamin Karim (one of Malcolm X’s aides).

Then several people such Spike Lee (film maker), Greg Tate (cultural critic), and Patricia Williams (Professor of Law and Women’s Studeis at the University of Wisconsin speak of Malcolm X. The camera then screens in Malcolm X’s tomb which reads:

Hajj-Malik El Shabazz

Malcolm X

1925-1965

The Seventh Child

This is the first of several chapter titles in the film. It describes pre-birth history of Malcolm’s mother’s move from the Caribbean to the United States of America. The narrator describes his mother, Louise Norton, reason for moving was that she, “Believed in the delicate line between life and death, the line of color.” This quotation set the stage for the explanation of Malcolm X’s motivation for becoming an activist. Wilfred Little, Malcolm X’s brother say, “Understanding the families background is important in understanding Malcolm because the family were always activists.” He further describes the two activists that their father, Earl Little a Baptist Preacher, admired which were Marcus Garvey and Booker T. Washington. The narrator then revealed that Louise and Earl were members of Marcus Garvey’s “United Negro Improvement Association” which was form in 1914 to promote unity among people of African descent.

Author Thulani Davis the speaks of the events that shaped Malcolm X, such as the Ku Klux Klan telling Earl Little to quit preaching Marcus Garvey’s message and when Earl did not listen he was murdered. This led to Louise losing her mind due to the stress of attempting to maintain their house which eventually places her into a mental institution. These events placed Malcolm X and his siblings into foster homes which shapes Malcolm X significantly. Another important event presented was the moment when Malcolm X lost interest in school. This happened when his dream of becoming a lawyer was shot down by his teachers saying, “Wanting to become a lawyer isn’t a realistic goal for a nigger.”

The Seven Years in Seventh Heaven

The film then moved to Malcolm X’s teenage years when he first moved to Boston after moving from foster home to foster home. The narrator reveals that Malcolm X moved to Boston to live with his half sister Ella at the age of 13. These were Malcolm X’s zoot suit, wide-rimed hat, knob toed shoes, and big legged pants days. Malcolm Jarvis aka “Shorty”, one of Malcolm’s childhood friends describes meeting Malcolm in a pool hall in which he says that his first impression of Malcolm was that he was a “slickster from the yard”. Robin Kelly, Professor in the Department of History at the University of Michigan, describes these zoot suite days from Malcolm X’s eyes as a period of darkness prior to the transformation to Islam. He suggests that the zoot suite represented a political statement that Malcolm X was not willing to participate in the war or suggesting a sense of anti-patriotism.

Quoting “The Autobiography of Malcolm X,” the narrator reveals that when Malcolm X was arrested that he told the police, “I can’t wait to get me a gun so I can shoot me some crackers!” Malcolm Jarvis then describes breaking into Mr. Gamble’s house, Proctor and Gamble, why he is out of town.

Phantoms of History I

The film speaks about the ending of World War II which is about the time that Malcolm X enters prison. Wilfred Little, Malcolm X’s brother, describes telling Malcolm X that he should finish school in prison so that “the time would serve him.” Malcolm Jarvis describes their studies in mental telepathy and says it has to do with Malcolm X’s transformation of the mind. He implies that Malcolm X knew how to manipulate the mind of others.

Wilfred Little discusses his own transformation to Islam and his desire to share his religion with his brother Malcolm X and his other siblings. He speaks of how stubborn Malcolm X was and how he sent their brother Reginald to the prison to speak to Malcolm X. This was because Reginald could relate with Malcolm X better because he was on the streets with Malcolm. Reginald was the one who convinced Malcolm to convert to Islam while in prison. This transformation marked the turning point in Malcolm X’s life.

Phantoms of History II

The narrator then describes the year 1952, in which it was the first year in which no lynchings had occurred. The narrator reveals that at this period in time Dr. Martin Luther King Jr. believes that “non-violence is a sham.” This is the period of Malcolm X’s life after he has left prison. Malcolm X meets Elijah Muhammad, the founder of the Nation of Islam, whom becomes like a father figure to Malcolm X. Betty Shabazz, Malcolm X’s wife, describes their relationship at this time as that of a father and a son. She says that Ellijah Muhammad actually refered to Malcolm X as “son” which she believed to be important to Malcolm X seeing as he lost his father at the age of six. It was when Malcolm X met Ellijah Muhammad that Malcolm X received his honorary “X”. Before that he was simply “Malcolm”.

The Hour of the New Negro

Betty Shabazz describes the formation of temples around the world that were populated by young adults. She says that before Malcolm X started this movement there were less than six temples full of elderly people and Malcolm helped to transform it. Hassan El-Sayeed, a community activist in Harlem, describes African square in Harlem and speaks of were Malcolm X preached and lived.

Phantoms of History III

The narrator reveals that in 1957 Dr. Martin Luther King Jr. becomes the leading proponent in non-violence movement. Betty Shabazz describes the meeting Malcolm X for the first time. She says that he frightened her at first, because he always seemed so serious and focused.

Now’s the Time

On April 14, 1957, Malcolm X intervened in Hinton Johnson arrest. Hassan El-Sayeed describes the 28th Precinct, where Johnson was held after being beaten. He describes that Malcolm X brought several hundred members of the Nation of Islam that eagerly awaited his orders. Imam Benjamin Karim describes that after the neurosurgeon coming out of surgery and told Malcolm X that Johnson would live that he simply raised his hands and the crowd melted away. He said that the police officer said that, “No man should have that much power.”

Cocoa Fusco reads the FBI files revealing that the FBI is now acknowledging that Malcolm X should be viewed as a key figure because of his extensive activity of Mosque number seven. Betty Shabazz says that his success was because of his hard work.

On June 3, 1963 FBI reports revealed that technical surveillance was installed in Malcolm X’s home. This leads in to quotes of Malcolm X biographer Peter Goldman and historian John Henrik Clarke. The film reveals that Malcolm X is becoming aware that his friends want to kill him.

The Hours of the Knife

A broadcaster announces that president John F Kennedy had died and Malcolm X states that it was a case of, “The chickens coming home to roost.” Ellijah Muhammad used this statement from Malcolm X to silence him for nintety days. Ellijah Muhammad told the members of the Nation of Islam if Malcolm X came back to Chicago that they must only give him a job washing dishes.

The Hour of Revolution

Malcolm X says that he can work better by being on the outside of the Nation of Islam. He says, “I will work with them or against them, which ever works better”. Quotes from Malcolm X reveal that he is going to Mecca to give a direct link to Islam.

Phantoms of History IV

Gabriel Prasa joins the Nation of Islam after learning he is bombing African’s in the military. A group of people come to him wanting to purchase weapons because they have a problem with Malcolm X.

Malcolm X writes to Yuri Kochiyama as he travels around the world. Malcolm X gets promise from the United Nations that they will address the mistreatment of Negroes as a human rights issue and not a civil rights issue.

Wilfred Little, Malcolm X brother, says that Malcolm X told him that on one of trips that he was told that he changed the image of Muhammad. He caused people to sacrifice their money, and their daughters and the he was going to have to pay for his mistakes.

Cocoa Fusco reveals that orders to kill Malcolm X came in from Chicago on July 5, 1964.

Peter Bailey discussed the formation of the Organization of Afro-American Unity with Malcolm X.

The End is Nigh

Malcolm X speaks about his house being bombed and almost hitting his three daughters. The film then shows screen shot shots of newspaper articles revealing that Malcolm X had been murdered. It also shows his funeral and the thousands of mourning people to his death. Hassan El-Sayeed visits the Unity Funeral Home in the center of Harlem and speaks about the impact of Malcolm X. He says that, “The name is what Malcolm was about in his last days.”

The film then moves to the release of “Malcolm X”, starring Denzel Washington by director Spike Lee, in Harlem in 1992.

The film ends with a quote from Jan Carew saying that Malcolm X was important because he was as “truth teller”. He says that he told the truth without coating the truth.

Cast

Dramatic Reenactment Cast

• Darrick Harris played the role of Malcolm X as an adult in all dramatic reenactments.
• Danny Carter played the role of one of Malcolm X’s men that wore black suits in each of the dramatic reenactments.
• Martin Boothe played the role of one of Malcolm X’s men that wore black suits in each of the dramatic reenactments.
• Byron O. Hurlock played the role of one of Malcolm X’s men that wore black suits in each of the dramatic reenactments.
• Edward George played the role of one of Malcolm X’s men that wore black suits in each of the dramatic reenactments.
• Tricia Rose played the role of Malcolm X’s mother in all of the dramatic reenactments.
• Theodore L. Cash played the role of Malcolm X’s father in all of the dramatic reenactments.
• Olamide Fasion played the role of Malcolm X as a child.
• Tiffany Nelson and Tiffany Tate played two young girls in the dramatic reenactments.

Other Cast

• Giancarlo Esposito was the voice heard when excerpts from “The Autobiography of Malcolm X” were read throughout the film.
• Toni Cade Bambara was the voice heard for any commentary throughout the film that was not either personal testimony or an analytical proclamation.
• Cocoa Fusco read the FBI files during the film.
• Wilfred X (as himself), aka Wilfred Little, was Malcolm X’s older brother and he provides frequent commentary throughout the film.
• Betty Shabazz (as herself) was Malcolm X’s wife and she frequently speaks of her relationship with Malcolm providing unique insight into Malcolm X’s personality.
• Spike Lee (as himself) is film maker who speaks briefly of Malcolm X saying, “Malcolm X was a great man and there are many different Malcolm’s.” This interpretation proves fruitful throughout the film as many of Malcolm’s transformation are revealed.
• Greg Tate (as himself) is cultural critic who speaks very briefly and says, “Malcolm X made black pride scary because it was in way anti-American.”
• Hassan El-Sayeed (as himself) was a community activist in Harlem who speaks of African square and describes Harlem during Malcolm X’s days.
• Yuri Kochiyama (as herself) was a community activist who was in New York City when Malcolm was assassinated. She describes coming to hear him speak because her son was moved by Malcolm X’s movement. She describes in Malcolm X’s dying minutes that she tried to comfort him.
• Thulani Davis (as herself) is writer and author that speaks of the events that shaped Malcolm X such as the Ku Klux Klan trying to get Earl Little to quit preaching Marcus Garvey’s message and then muredering him, Louise losing her mind, becoming a warden of the state, and his loss of interest in school.
• Robin Kelley (as himself) was a Professor in the Department of History at the University of Michigan. He believes that Malcolm X’s zoot suite days were a period of darkness prior to Islam. He suggests that the zoot suited was a highly politicized piece of clothing that represented “able bodied young men who refused to participate in the war”. He also says that refusing to go to war was an expression of anti-patriotism during that period of time.
• William Kunstler (as himself) was an American Attorney and broadcaster who spoke about speaking to Malcolm X about a week before his assassination describing the meeting he was going to have with Dr. Martin Luther King Jr.
• Benjamin 2x (as Imam Benjamin Karim) was a Malcolm X Aide from Moslem Mosque Incorporated. He describes that one of the last things he said prior to the assassination of Malcolm X was, “I now bring before you a man that would give his life for his people”.
• Peter Bailey (as himself) was a Malcolm X Aide in the Organization of African American Unity. He speaks about his first night in Harlem after moving from the south hearing Malcolm X speak. He says that prior to that night he thought of Malcolm X as the “boogie man”, but on June 12, 1963 his mind was opened. He said he now saw the real struggle from the man that he now called the master teacher.
• John Henrik Clarke (as himself) an historian and former advisor for Malcolm X describes that Malcolm X was out growing himself. He was not given permission to march in Washington.
• Peter Goldman (as himself) is a Malcolm X biographer who describes Malcolm X as a “genius of modern media”. He said that his abilities sparked jealousy between other ministers.
• James Farmer (as himself) was a Civil Rights Leader as the Director of Congress of Racial Equality between 1942 and 1966. He said that Malcolm X was standing outside the mainstream of the civil rights movement, but he desperately wanted to be part of the mainstream.
• Jan Carew (as herself) is a historian and writer who describes Louise’s educational background which was grounded in the three R’s (Reading, wRiting, and aRithmetic), and speaks of Louise being politically active.
• Malcolm “Shorty” Jarvis (as himself) was Malcolm X’s childhood friend. “Shorty” describes Malcolm X as a teenager being the kind of guy who wore zoot suites, knob toed shoes, wide rimed hats, and baggy pants. He says that Malcolm X gave him the first impression of being a “slickster from the yard”, but that Malcolm X was a really good friend actually.

Popularity

IMDB

As of February 12, 2011 the IMDB rating was 2.6 out of a 10 point scale. The popularity was the highest in the category “females” and in the category “females between the ages of 18-29 year of age” with a 5.5 out of a 10 point scale rating. The popularity was the lowest in the category “aged 45+” and “males aged 45+” with a 1.0 out of a 10 point scale rating. The mean rating was a 3.7 out of a 10 point scale, and the median was a 2 out of a 10 point scale.

Seven Songs of Malcolm X in Literature

Problematizing (black) documentary aesthetics: John Akombfrah’s use of intertextuality in Seven Songs for Malcolm X (1993)

In 2007, London based scholar Dr. Saёr Maty Bâ, who specializes in film history, world cinema, and film theory, released this journal article. His attempt was reevaluate three areas of study that he deemed in need of new theory and analysis. The three areas were Seven Songs of Malcolm X, Malcolm X as a central figure in documentary films, and the “cross-/transnational aesthetics of black documentary film(-making) theory and practice”. The question he is trying to answer in this article is “What does Seven Songs for Malcolm X do for black documentary aesthetics?”

Dr. Saёr Maty Bâ answers this question using three Akomfrah’s “tools of representation” including early black jazz, early black photography, and film art of Soviet-Armenian filmmaker Sergo Paradzhanov. Before he provides an explanation of the “tools of representation” he provides context to the film Seven Songs of Malcolm X. He describes Akombrah and the Black Audio Film Collective as a group that tried to unveil weaknesses in black politics. He says that they believed the Spike Lee was going to present Malcolm X as an icon in his film Malcolm X (1992) and they wanted to present his entire life and show who is was throughout life. Maty Bâ believes that their motivation to make Seven Songs for Malcolm X was equally political and aesthetic, and their distinction is difficult to see.

Dr. Saёr Maty Bâ says that Akomfrah used early black jazz in an attempt to present how rhythm is utilized in films. He further forms a connection between jazz and how jazz is used to transform a film. His conclusion was that jazz is a “free medium” that he used to show that Malcolm X was in a sense a pliable persona. The music demonstrated that time and rhythm could change or be unequal; just as the chapter lengths, and Malcolm X’s values vary greatly in different periods of time.

Dr. Saёr Maty Bâ says that early black photography, which is “still and cinematic”, was used to show to show how “photographic intertextuality works form within”. He says that is also used as an alternative form of presentation that is “anti-essential.” Dr. Saёr Maty Bâ also addresses Sergo Paradzhanov’s film art. He believes that Paradzhanovs influence on Akomfrah’s thinking is found within in the way his art presents theory and history.

Dr. Saёr Maty Bâ conclusion for his early question of these three “tools of representation” was that “black documentary aesthetics demonstrate collectively that black documentary aesthetics is neither belated nor dislodged from western documentary aesthetics”. He further says that in American and British contexts there has been an omission and misrepresentation of black from the historical worlds. He believes that this misrepresentation must be corrected and that was the purpose of the Akomfrah in the making of “Seven Songs for Malcolm X”.

Visualizing rhythm, transforming relationship: jazz and Seven Songs for Malcolm X

In 2008, Dr. Saёr Maty Bâ published this journal article. His attempt was to reevaluate the same three areas of study that he evaluated in “Problematizing (black) documentary aesthetics: John Akombfrah’s use of intertextuality in Seven Songs for Malcolm X (1993)”. The three areas reevaluated were the film “Seven Songs of Malcolm X”, Malcolm X as a central figure in documentary films, and the “cross-/transnational aesthetics of black documentary film(-making) theory and practice”. He then utilized the information from his previous article that answered the question “What does Seven Songs for Malcolm X do for black documentary aesthetics?” He divided his answer into two separate articles. This is the first of the two articles and it suggests that “Akomfrah attempts to transform the way in which jazz music rhythm is visualized in film.” Article two is titled, “Using framing to un-fix meanings in John Akomfrah’s Seven Songs for Malcolm X: early black photography and Sergo Paradzhanov’s aesthetics,” and Maty Bâ says that it suggests that “Akomfrah attempts, simultaneously, to cross-fertilize within mise-en-scéne still photogpraphy and cinematography.”

Bibliography

• Maty Bâ, Saёr. “Problematizing (black) documentary aesthetics; John Akomfrah’s use of intertextuality in Seven Songs for Malcolm X(1993).” Studies in Documentary Film l.3 (2007); 221-44.
• Maty Bâ, Saёr. “Visualizing rhythm, transforming relationship: jazz and Seven Songs for Malcolm X.” Studies in Documentary Film 2.2 (2008); 137-48.
• “Saёr Maty Bâ.” Sense of Cinema. 12 Feb. 2011 <http://www.sensesofcinema.com/author/saer-maty-ba/>
• Seven Songs for Malcolm X. Dir. John Akomfrah. Channel 4 Television Company, 1993.
• “Seven Songs for Malcolm X.” Film.com. 11 Feb. 2011 <http://www.film.com/movies/seven-songs-for-malcolm-x/14697886>.
• “Seven Songs for Malcolm X.” IMDb. 11 Feb. 2011 <http://www.imdb.com/title/tt0108089/fullcredits#cast>.
• “Seven Songs for Malcolm X.” Incarus Films. 11 Feb. 2011 <http://icarusfilms.com/cat97/p-s/seven_so.html>.