Film Captures Harlem Renaissance Luminaries Reconnecting in 1972

In 1972, filmmaker William Greaves convened a unique gathering at Duke Ellington's Harlem apartment, bringing together prominent figures of the Harlem Renaissance who had not seen each other in decades. The aim was to capture a reunion that would serve as a documentary, preserving not only their accomplishments but also how they served as repositories of the past.

Greaves, known for experimental documentaries like Symbiopsychotaxiplasm: Take One and for co-founding the public television program Black Journal, considered this film one of his most important projects. He worked on it intermittently until his death in 2014, but was unable to complete it. The film, now brought to fruition by his son David Greaves and granddaughter Liani Greaves, is titled Once Upon a Time in Harlem.

The documentary opens as guests arrive at Ellington's apartment, including muralist Aaron Douglas, poet Arna Bontemps, society editor Gerri Major, and jazz pianist Eubie Blake. Among the attendees was photographer James Van Der Zee, whose portraits of Harlem residents are featured, reminding viewers of how artists often find support through varied means. Richard Bruce Nugent, a painter and activist, reflected on the immersive nature of living through the Renaissance, stating, “While you’re living it, it is the now.” Actor Leigh Whipper and publisher Richard B. Moore recited poetry from memory, with Moore performing Claude McKay's poem "If We Must Die."

Conversations, often prompted by Greaves himself, reveal the intertwined nature of art and politics for this generation. Ida Mae Cullen, widow of poet Countee Cullen, noted that the Harlem Renaissance primarily spanned the 1920s, though its influence extended beyond that decade. A notable exchange occurred regarding the philosophies of Marcus Garvey, highlighting a respectful yet diverse range of opinions among the intellectuals.

Regina Andrews, who worked as a librarian at the 135th Street branch of the New York Public Library, shared an anecdote about hosting gatherings for writers and poets like Cullen and Langston Hughes. The scarcity of dishes for these events led friends to discreetly collect plates from local Chinese restaurants, a gesture that symbolized the shared joy of creation and community. Andrews described it as "just the joy of living and creating together," a sentiment that encapsulates the spirit of the era captured in the film.