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Philip Muravyov
Philip Muravyov

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This knee-jerk reaction to crowds of millennials throwing racist, doxing, white supremacists off college campuses has me less alarmed about free speech than about the liberal intelligentsia that spends more time on false equivalency than actually giving a shit.


The students of Middlebury College who turfed Charles Murray from their campus two weeks ago did not wreck free speech. Their contribution to stifling debate is so miniscule in relation to the ability of Charles Murray to spread his nonsense that I find it hard to care.


Because free speech in America is much deader than is often made out to be. For hundreds of years Americans have refused to allow LGBT+ people into any sort of classroom. You can count the number of states that have formally adopted LGBT history as part of their school curriculum with the number of fingers it takes to tell another driver to fuck off. We have been completely blanked out of American history, and even when someone tried to make a movie out of it, they told it worse than Southern states explain sex ed.


So many American parents have worked to try to make sure their children never see LGBT+ people on TV or in real life. American news networks gloss over the number of murders of black trans women, and how trans immigrants are put into the wrong prisons, and the suicide and homelessness rates among LGBT+ people, particularly high for trans folks.


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This is the image on the poster of Pressure, a 1975 film by the Trinidadian director Horace Ové - the film that is widely acknowledged to constitute the birth of black British cinema. This and other equally emblematic works, such as Menelik Shabazz'sBurning an Illusion, Isaac Julien's Looking for Langston and Saul Dibb's recent hit Bullet Boy, are all being shown at the National Film Theatre's ongoing Black World season. The season provides an opportunity to reflect on "Black British Cinema" - to consider what such a thing might be, where it came from, and what it has to say about Britain now. Because, over the last three decades, from Ové's Pressure to Amma Asante's A Way of Life, black British cinema has transformed the way it looks, the way it sounds and and the way it feels.


But where did it come from? A good starting point is Perry Henzell's iconic 1972 Jamaican movie The Harder They Come. Arguably, this fast-moving "rocksteady" cowboy caper provided the first meaningful cinema-going experience for Caribbean immigrants and their UK-born offspring, because it gave them a chance to see something of their culture on screen. Britons of African descent may point to the great Senegalese film-maker Sembene Ousmane as their talisman but his oeuvre has always been strictly art-house. The point about The Harder They Come is that it earned its popular-cultural resonance through its celebration of reggae, Jamaica's indigenous music and prime cultural export. The film's star was Jimmy Cliff, a man possibly cooler than Clint Eastwood (he's definitely a better singer). But Cliff was black Kingston, not black London - his story was a "back-home" narrative. Horace Ové tackled that very problem of identity head-on in Pressure (1975). A number of films - such as 1959's Sapphire (1959) A Taste of Honey (1961) and Leo the Last (1969) - had brought the troubled existence of black immigrants in Britain to the big screen, but Pressure showed that blacks were British.


And yet they were also foreign. The story of the struggles of Tony, a young black school-leaver, Pressure also illustrated that young Londoners of Trinidadian parentage such as Tony didn't belong. Racist employers and boot-camp coppers saw to that. Alongside Herbert Norville's Tony, Ladbroke Grove and Portobello Road are the inanimate co-stars of Pressure. They are relentlessly dreary places, rainy and grey, as yet unreached by 21st-century Notting Hill chic. This erstwhile ghetto - the route of Carnival - was a major flashpoint in the Seventies because of the tension between the establishment and local black residents, an enmity that Pressure graphically captures.


Babylon and Pressure articulated the mixture of hopelessness and defiance that was an inextricable part of the black British condition in the early Eighties - the riots, the New Cross massacre, Linton Kwesi Johnson's dub poetry, blues dances, skinheads, the stop-and-search or "sus" laws and the Special Police Group. The films also spoke about the transformation of mainstream Britain. Babylon highlights the pervasive cultural significance of reggae and can't be entirely separated from The Harder They Come and Rockers (another roots'n'culture caper movie emerging from Jamaica in the late Seventies).


There are swastikas all over the walls of the lock-up. "Them a deal in pure wickedness, man!" Ronnie exclaims to his "bredren". Beefy, the most volatile of the Lions, the one most traumatised by racism, blazes back: "Don't talk fucking black!" And smacks him. And in that very frame black British cinema isolates an important cultural phenomenon: the changing voice of the nation - the counter-colonisation of the Queen's English.


Today there are British kids of West Indian, European, African, Asian and Turkish descent running all over London using creolised English - "talking black", in Beefy's words. What was once abnormal - the Caribbean vernacular - is now normal, not to say desirable. This was clear at the "education" screening of Saul Dibb's recent Bullet Boy at the Tricycle theatre in Kilburn, London, in April - the film is the most commercially successful black British film to date. Local schools brought in pupils of every ethnic origin imaginable. The majority spoke just like Ashley Walters' Ricky, the movie's working-class black Londoner who finds himself caught up in a tragic cycle of gun-related violence. Some of the audience may not have seen themselves on screen, but nearly all of them heard themselves.


Is there, in the history of black British cinema, a moment that charts black language entering the mainstream? Yes, and it took place over 20 years before Bullet Boy was released. But it's not a film, a documentary or a short. It's a music video.


The promotional clip for The Specials' single "Ghost Town" was filmed among the tower blocks and underpasses of a nameless British metropolis in 1981. It could be London, Birmingham or Liverpool. It could be anywhere godforsaken. A car containing the multi-racial band cruises a desolate Thatcherite dystopia, the city streets as grim as those in Babylon. Unlike Ronnie and Beefy, the group's singers, white Terry Hall and black Neville Staples, are both in tune with Britain's evolving English language. (Actually, Terry was never in tune on any Specials songs, so his unflinching yet endearing monotone is perfect for the speaking part of "Ghost Town".)


Did black Britons approve of the Staples-Hall JA-UK lingua franca? That's a tricky one. Some may have smiled, some may have sneered. My Trinidadian cousin rather fancied the exotic Terry. "Ghost Town" fits into a cultural continuum. It implicitly acknowledges the bond between the reggae and punk aesthetics of Seventies Britain. It consolidates the connection between Johnny Rotten and Don Letts, the Brit-Rasta director who made The Punk Rock Movie. Such racial harmony is also briefly sighted in Pressure but it is subordinated to the film's focus on the psyche of the tormented black Briton. Looking at Pressure, Babylon and Black Joy (the 1977 film starring the legendary Guyanese actor Norman Beaton), we can see recurrent themes and iconographies: black seniors under economic duress; black youth in emotional distress; National Front graffiti decorating walls; the city as harsh, forbidding backdrop; a speaker-shaking reggae soundtrack. We see, in other words, Britain being "blackenized". 041b061a72


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