In a sense this film is about one person, Stuart Hall, a prominent cultural theorist who sadly died the year after this was made, but in talking about his work and life, it touches on the history of the United Kingdom, its colonialism and its own struggles in relationship to that colonial past, that continue to echo today, that continue to in fact resound very loudly at this very specific moment.
Despite being born in the UK, I wasn’t educated here and therefore was never really introduced to the work of cultural theorist Stuart Hall, having found out about him near the end of his life when this film was made (he died in 2014). However, the archival clips orchestrated here by John Akomfrah, with a backing of musical clips from Miles Davis records, impresses upon me that he really was one of that dying breed of accessible public intellectuals, so thin on the ground in contemporary discourse and surely never more sorely needed. He speaks of his West Indian roots, of coming to Britain to study at Oxford, and of the persistent racism and colonialist attitudes he encountered. In dealing with periods of his life, and of the history of late-20th century Britain, the film also elucidates the social changes that Hall dealt with in his work, the ways that dreams of the past may have died and that other newer ideals came to replace them, but with a throughline relating to the immigrant and postcolonial experience. The film is as much about the construction of identity itself as it is about telling a story of Hall, but it sort of manages to do all of these things, and though I can’t claim to be a great intellectual, it was persuasive and likeable, and idiosyncratic in its ways as something of a multimedia art project (which Akomfrah has done several of, including about Hall), but also a compelling documentary.
Director/Writer John Akomfrah; Cinematographer Dewald Aukema; Length 96 minutes.
Seen at home (BFI Player on Amazon streaming), London, Wednesday 10 June 2020.