As I reflect upon this remarkable piece of history, I am truly awestruck by Stan Lathan’s journey. A humble director who had the privilege to work with legends like Jesse Jackson and Quincy Jones, not once but multiple times, he has etched his name in the annals of music and film history.
Titled “Save the Children,” a concert film from the early ’70s showcasing prominent Black music legends of that era was in dire need of preservation itself. Despite boasting iconic artists such as the Jackson 5, Marvin Gaye, Curtis Mayfield, and Bill Withers, the movie vanished from public awareness shortly after its brief theater release by Paramount Pictures in 1973. It didn’t receive an official home-video release or revival screenings. However, a ray of hope has emerged with Netflix acquiring the documentary to make it accessible for viewing after nearly fifty years.
This two-hour movie showcases a concert held in Chicago, 1972, which was organized to back Rev. Jesse Jackson’s Operation PUSH. A stellar ensemble of artists such as the Staple Singers, Roberta Flack, Isaac Hayes, Gladys Knight, the Tempations, Ramsey Lewis, Wilson Pickett, Sammy Davis Jr., Cannonball Adderley, and Jerry Butler were part of this extraordinary event. The people responsible for the production include Quincy Jones, Berry Gordy, Al Bell, and Clarence Avant. Given such a remarkable lineup, it’s hard to believe that many fans of ’70s soul music aren’t aware of this film, let alone had a chance to watch it. Regrettably, despite its initial release and subsequent Motown soundtracks, the film appears to have vanished without a trace in popular culture, as evidenced by the fact that IMDB doesn’t feature any user reviews for this overlooked documentary.
The movie “Save the Children” had its re-launch at the Chicago Film Festival this month, graced by the presence of Jesse Jackson, his son Yusef Jackson, as well as the film’s director, renowned African American filmmaker Stan Lathan, and Alan Elliott – a key figure in the movie’s re-release. Both Lathan and Elliott shared insights about the work involved in bringing this film back to public view with EbMaster during an interview.
Lathan, a distinguished filmmaker, has enjoyed an illustrious career spanning decades, and at the age of 79, he continues to excel, primarily directing Dave Chappelle’s projects since the new millennium. His resume boasts episodes from shows as diverse as “Sanford and Son,” “Sesame Street,” and “Hill Street Blues.” One of his early projects remains a significant milestone in his career, although it appears to have evaded the notice of many.
For years, Paramount seemed to have misplaced it, not intentionally neglecting it, but instead releasing it in select cities. When its performance didn’t meet their expectations, they appeared to shelve it. Somehow, the film ended up forgotten in Paramount’s archives. It took us a considerable amount of time and effort to locate it, and upon finding it, we had to restore and enhance it. We preserved its original content but improved its visuals, soundtrack, and overall quality. I’m delighted about this rediscovery.
Elliott expresses, as an unaccredited producer and supporter who played a role in its re-release, “I shouldn’t downplay the main point because this is the only known film recording—not television footage, but actual film footage—of the Jackson 5 from 1972. At that time, they were the most significant act globally, equivalent to Taylor Swift and the Beatles. They were riding a wave of five or six massive hit singles at that point, and when they appear on stage and fans rush forward, it’s amusing. I watched a screening in Chicago with a friend who is a lawyer there, and he began crying during the Jackson 5 performance. I asked him, ‘You’re really moved by this?’ He replied, ‘You tend to forget how important the Jackson 5 were during our era, and seeing them like this…’
Elliott goes on to say, “The talent in this film is astounding! Bill Withers has a presence that deserves a spot on Mount Rushmore alongside Gladys Knight. Nancy Wilson’s performance in the movie is simply remarkable – it’s as powerful and dramatic as Maria Callas herself. The Temptations are brilliant, and Mavis Staples with her father (Pops Staples) are pure magic to watch. But what truly stands out is how the director, George Bowers, and Stan tell a story in this film. It’s not just a concert movie – it delves into the culture of the time, reflecting America at that point in history. And it couldn’t have come at a more crucial moment, coinciding with Jesse Jackson’s rise to prominence in everyday American conversation.
After Dr. King’s death, Al Bell’s clever strategy was to sign Jesse Jackson to a recording contract and promote him as a spiritual leader of the nation. At the same time, Al Bell also financed Operation PUSH and kick-started the blaxploitation film movement with movies like ‘Shaft’, ‘Sweet Sweetback’s Baadasssss Song’, and others. This movie truly encapsulates the impact of Al Bell, Clarence Avant, Berry Gordy, and Stan, as they leveraged their creative influence to send a powerful message to society. I am honored to have played a small role in bringing this significant film to fruition. In my opinion, it’s just as important as ‘Amazing Grace’, and I believe that ‘Amazing Grace’ is indeed crucial.
Lathan continues to share insights about the origin of “Save the Children”: “Everybody in the movie was outstanding because once the news spread through the industry, everyone wanted to be a part of it. The attraction stemmed from the significant role Jesse played and the curiosity surrounding his work. Lathan had a personal connection with Clarence Avant who introduced him to Jesse. They brought Lathan on board as director and Matt Robinson as producer. Additionally, Ewart Abner, who was president of Motown at that time, and Al Bell were also involved. Quincy Jones played a crucial role in pulling everything together and assembled an all-star cast featuring the stars of the day. Everyone gave their best performance once they heard about it. Furthermore, Phil Ramone served as the music coordinator along with Quincy, ensuring the sound was expertly blended. The sound quality even improved when we remastered it for surround sound at Capitol Studios.
As a film enthusiast, I feel incredibly fortunate not only to have met Jesse Jackson at the Chicago premiere, but also to have collaborated with his son. Yusef was just a 3-year-old when we made this project, and now he’s a producer on it. That’s because he played a significant role in helping us navigate through the numerous obstacles we encountered during production, ensuring that what we’ve created will be preserved for future generations to enjoy.
Lathan discusses an extraordinary aspect of the crew during that period. “The annual Jesse Jackson’s PUSH Expo was a significant event for civil rights, attracting numerous attendees. His vision included a grand concert with renowned artists, but he also aimed to assemble an all-Black crew for this ambitious project. Although there were some Black camera operators, having an entire crew for such a massive event was unprecedented — and we successfully pulled it off. The process of preparation involved seeking talented individuals from across the nation. We had eight or nine cameras, and only one of the cameramen was white, David Myers, someone I had collaborated with on previous projects and who had worked on numerous documentaries. So, he served as our anchor. We put it all together, and it turned out wonderfully — everyone performed exceptionally well.
Elliott points out that the significance lies in the fact that the audience reaction shots and other scenes are captured through the perspective of a Black filmmaker and cinematographers. As a result, when they’re capturing images of the girls and their reactions, it’s not from a detached viewpoint. Instead, they’re immersed in the moment, offering a unique, palpable vibe that is evident and tangible to viewers.
Lathan expresses that the experience he had back then feels incredibly fortunate to him, having worked with Jesse and other remarkable musicians. He believes this opportunity served as a catalyst, pushing him towards creating quality work. To this day, at 52 years old, he has achieved everything he’s dreamed of in his directing career and more, making this anniversary a significant milestone for him to reflect on.
Elliott remarks, “It’s wonderful for Stan to have a moment of triumph at the Chicago Festival screening. He doesn’t particularly need it, given his numerous victories. However, he expressed that this project is the most significant one he’ll ever work on. Notably, he’s Dave Chappelle and one of the early directors of ‘Sesame Street’! A truly intelligent, entertaining, kind, and gentle individual.
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2024-11-04 04:17