Written by: Roger Guenveur Smith. Directed by: Spike Lee
Look closely at the Spike Lee film of the Roger Guenveur Smith one man play and you’ll notice it’s called A Huey Newton story. This title is in the spirit of the post-modern idea that history is not one story but many that can be both contradictory and true. In the case of this work “A” takes on even more significance. This piece is not the dramatic tale of the Black Panthers co-founder cumulating with his murder. Rather, the piece is an imagination of how Huey Newton might tell his story if given the chance: there is an emphasis on history and anti-racism, but that is not the full scope of the work.
History is often told with particular reference made to heroes and villains: heads of state and revolutionaries alike. This is a logic that many movements and political figures try to counter, saying that what matters is not them but their movement and their goals. In practice, the representation of movements through canonized individuals will likely never go away. Joining the cause of an individual has a certain intimateness to it that joining a broad struggle for idealism never will.
A Huey Newton story is above all else an exploration of the mental struggle between honouring heroes and honouring causes. The film puts Newton on a pedestal: to be more precise: a chair on a stage where Newton sits in front of an adulating audience. Newton then begins his film-spanning monologue. He is almost a stand-up comedian, but not quite, as his stream-of-consciousness style presentation varies in tone from sombre, to comedic, to academic, to vulnerable, to unintelligible. His faceless audience laughs at all of his jokes as if he is a standup comedian: but he is clearly not one an. In this sense we are presented with the image of cult of personality: the audience adores Newton not simply because of his jokes but because he is Huey P. Newton
But while the film allows us to enjoy (or at least enjoy others enjoying) Newton’s personality cult, he deconstructs it. Newton reads his poems and questions the meaning of his own existence, one poem asking what part of his body is essentially him (ie if he could continue to exist if they are all stripped away). At another moment Newton embodies loneliness, expressively moving to Bob Dylan’s “Ballad of a Thin Man” like an archetypal moody teenager. While Newton shares his political theory, including his views on the violence-non-violence continuum and the role of the Panthers as a political vanguard, he avoids fiery ideological preaching in favour of jokes, introspection and more anecdotal commentary on racism (Eg decrying a radio station for playing the Eric Clapton version of “I Shot the Sheriff”).
Cigarette smoke factors regularly into the film’s artistic aesthetic. Newton sits and dances in billows of smoke while waiting to make profound and profoundly-empty statements. Newton breaks down the granduous mistake of even this part of his image, denouncing cigarettes as “reactionary suicide.”
Those unfamiliar with one man shows may be sceptical as to the art form’s potential to entertain, especially in the film format. A Huey Newton story, however, is very easy to appreciate. Guenveur Smith’s Newton dazzles with his wit and moodiness, while Lee’s shots accentuate the vividness of Newton’s persona. If you’re interested in social justice and history absolutely check out A Huey Newton Story, but do so realizing it is simply “A” story. It may not help you pass your history test, but it does provide a stunning, complex and sympathetic portrait of a historical figure in a manner that is both thought provoking and encapsulating.