“Don’t Take Harlem is my personal love letter to Harlem. This project is dear to me because it allowed me to understand my hometown and the stories that could be extracted. The visual images shown through this film captures my artistic style in its most authentic form.” Marshall Wayne Cooper
Documentary on drug use in America
A 1977 film portrait of the 90-year-old photographer.
A French animated short film delves into a family living in Harlem's black ghetto, where a girl faces the choice between freedom and death. Features music by Johnny Otis.
A feature length documentary that tells the story of nine young men and women constructing positive lives as they face the challenges of growing up poor in one of America's most famous African American communities.
The Harlem Blues & Jazz Band during its sunset years: 87-year-old Al Casey, who had worked closely with Fats Waller throughout the 1930s; guitarist Lawrence Lucie, 95 years young, from the bands of Louis Armstrong, Benny Carter and Duke Ellington; saxophonist Bubba Brooks, 79, who was with Bill Doggett; Edwin Swanston, 80, pianist with Louis Armstrong's Orchestra; 91-year-old drummer Johnny Blowers, ex-Bunny Berigan, Billie Holiday and Frank Sinatra; Ivan Rolle, 85, bassist with Jonah Jones; and 88-year-old Laurel Watson, one-time vocalist with Duke Ellington and Count Basie. Baron's cameras record the musicians through their tours and concerts, capturing their joy in performing together. A celebration of the jazz spirit.
A well meaning Dr. lends his building to a group of neighborhood kids. When the neighbors learn that they are members Harlem tough -kid gang, they suspect that their operation there conducting nefarious deeds.
This production was originally staged for the Pepsico Summerfare Festival, The International Performing Arts Festival of the State University of New York at Purchase. Leaving the lyrics in their original Italian, acclaimed American director Peter Sellars transports Wolfgang Amadeus Mozart's "Don Giovanni" to a modern-day metropolis, nestling the opera's beloved characters among the brownstones of New York City's Harlem. Sellars's contemporary retelling of a classic musical tale is one of three performances in a Mozart series that also includes "Le Nozze di Figaro" and "'Così Fan Tutte."
HIGH SCHOOL II is a film about Central Park East Secondary School (CPESS), a successful alternative high school in New York's Spanish Harlem, 85-95% of whose graduates go on to four year colleges. The film illustrates the school's emphasis on the “Habits of Mind” program (weighing evidence; awareness of multiple points of view; seeing connections and relationships; speculating on possibilities; and assessing values.) Sequences illustrating the school's approach to learning include: classroom activities in the humanities and sciences; family conferences; discussions of race, class, and gender; faculty meetings; disciplinary problems; sex education; conflict resolution by students; and student council meetings.
This jazz musical short has a comedy plot about marital infidelity. Bandleader Cab Calloway plays a ladies man who dates the wife (Fredi Washington) of a train porter who is frequently absent from home. Calloway and his Orchestra perform "Zaz-zuh-zaz" and "The Lady with the Fan" at the Cotton Club in Harlem.
Hardworking Minnie (Cora Green) marries "Dollar" Bill (Bud Harris) a shady gambler after her money and her attractive daughter, Sue (Izanetta Wilcois). Sue meanwhile, is in love with Bob (Carl Hough), an idealist fond of looking out over the skyline and saying "Harlem... there's so much to be done here--it's fairly screaming for leadership." When Bob decides to organize the community against local racketeers he little realizes would-be father-in-law Dollar Bill is one of them. Bill meanwhile has problems of his own: A vicious white mob from lower Manhattan is muscling in on his action, and bullets are about to fly.
Dramatic events in a Harlem apartment house center around Pa Wilkins, chosen by the Better Business League to replace their ousted, crooked leader Marshall...who wants revenge; and Pa's ward Jim Bracton, a two-timing Romeo whose affairs are coming to a crisis. And hanging around is Marshall's murderous junkie henchman, Lomax. Will it all end in someone's being killed?
A Black night watchman at a chemical factory finds the body of a murdered white woman. After reporting it, he finds himself accused of the murder.
A cowboy helps a pretty young woman find lost gold. Restored by the Academy Film Archive with additional funding from the National Endowment for the Arts.
Harry Belafonte and Sidney Poitier travel down memory lane to see what life was like back in the 1920s. Harry Belafonte introduces this musical, written by poet and playwright Langston Hughes, which pays tribute to Harlem in the 1920's. Sidney Poitier provides commentary on the era throughout the program, and George Kirby and Nipsey Russell portray various Harlem characters. Program highlights include: Gloria Lynne singing "Good Ol' Wagon"; Brownie McGhee singing "Let the Deal Go Down"; Diahann Carroll singing "Nobody Knows You When You're Down and Out"; Sammy Davis, Jr., singing and tap dancing to "Doin' the New Low Down"; Joe Williams singing "Nobody Knows the Way I Feel This Morning"; and Duke Ellington performing "Sophisticated Lady" with a sextet.
Flea was a basketball player, happy with his subtle hustle, until a Dominican connect introduced him to a new way to spread the work and make money.
Tommy McCoy and "Dude" Markey are both in love with Harlem singer/dancer Nita. Markey robs a jewelry store and turns the loot over to gang-boss Murray Howard. Later, Markey robs the safe, steals the jewelry, and, in order to get rid of his rival for Nita, frames the robbery on McCoy. The latter's big-brother thinks otherwise and, with Nita's help, sets out to prove it.
A girls’ basketball coach is fighting through a heroin addiction while mentoring a 12-year-old street kid adopted by Will and his wife.
Documentary about a rodeo that takes place, for the most part, in Harlem.
Harlem, 1926. A “sweetman” Zeddy, living off a woman, brings a country girl he’s trying to impress to a gay-owned cabaret. There he meets a friend, Jake, whose girlfriend, Congo Rose, is the singer there. Drama swirls around the characters as Zeddy confronts the cabaret owner, about his sexuality. Congo Rose, seeking to reignite her man’s fading interest, puts on a performance, with her Pansy Dancer, of a Bessie Smith song that seduces the whole room, especially Zeddy.