The story began in 1972 when visionary filmmaker William Greaves invited a handful of surviving Harlem Renaissance artists into Duke Ellington’s former apartment. With the assistance of two Schomburg Center librarians, Jean Hutson and Regina Andrews, Greaves mounted a spontaneous cocktail party that turned into a living archive. Over the course of an afternoon, the likes of Richard Bruce Nugent, Aaron Douglas, pianist Eubie Banks, and photographer James Van Der Zee shared anecdotes, recited poetry, and performed music, all captured on 16mm film by Greaves and a crew of four camera operators, including his son David.
From a 1972 gathering to a rescued film
Although Greaves assembled a 30-minute documentary titled From These Roots in 1974, the vibrant live-action footage sat on the shelf, mismatched with the still photographs he had collected. For decades the moving images remained unseen, a hidden treasure awaiting a new generation. The turning point arrived in 2022, eight years after Greaves’ death, when his widow Louise Archambault Greaves secured a grant from the Ford Foundation to digitize the untouched reels. Before passing away a year later, she entrusted the project to David Greaves and his daughter Liani, who enlisted editor-producer Anne de Mare to shepherd the material to completion.
The restoration journey after Greaves’ death
David Greaves approached the monumental task with the same experimental spirit his father had championed on Symbiopsychotaxiplasm. He embraced a double-screen layout, allowing parallel conversations to unfold on screen, echoing the lively, overlapping chatter of the original salon. The restoration team blended archival stills with the newly digitized 16mm sequences, preserving the raw energy of the 1970s while offering modern audiences a crisp visual experience. According to critic Richard Brody, the finished work stands as “one of the greatest cinematic works of creative nonfiction” he has ever encountered.
Screening at the 64th New York Film Festival
The revived documentary, now titled Once Upon a Time in Harlem premiered during the 64th New York Film Festival hosted at NEON’s Manhattan office. In an emotional interview, David described the day he first saw the rough cuts: “When I recognized myself among the outtakes, everything clicked – it was a piece of my own history.” He recounted moments such as 89-year-old Eubie Banks being coaxed by his father to play on cue, prompting stunned reactions from the crew: “What the hell?” The film’s theatrical run follows the festival showing, giving broader audiences access to a once-in-a-lifetime snapshot of Black cultural brilliance.
Beyond the historical cachet, the documentary shines a light on the indispensable role of the Schomburg Center librarians. Regina Andrews, for instance, acted as the catalyst that gathered the artists, while Jean Hutson ensured the archival integrity of the materials. Their behind-the-scenes work underscores how institutional support can translate into enduring cultural artifacts.
David’s commitment to finishing his father’s vision was personal and purposeful. He declined offers to hand the footage to another editor, insisting that only someone steeped in the original context could honor its spirit. Anne de Mare’s deft editing added a seamless flow, allowing the split-screen technique to feel natural rather than gimmicky. Together, they transformed a half-forgotten reel into a resonant tribute that bridges the 1920s Harlem community, the 1970s revival, and today’s viewers.
As the film continues its theatrical journey, it offers more than nostalgia; it provides a living document of an era that shaped American art, music, and literature. Audiences are invited to sit in on candid conversations that echo across decades, reminding us that history is not static but a mosaic of voices, each demanding to be heard.
