Kartemquin Films’ Trick Bag: A Black and White Film tackles a tough subject: race issues in 1970s Chicago.
Their 1974 short film shows a series of interviews among people across Chicago during the early 1970s. These people, mostly youth, gather at parks, on street corners, and in people’s homes. Race issues dominate these interviews, though intersectionalities with class -— a theme across Kartemquin’s catalogue -— also appear. Brief sequences of well-chosen music and some voiceover comments set up each scene and its key idea.
Unlike the usual lone talking head, this short approaches these interviews as conversations. In a kitchen, for example, several men sit and talk about their experiences while serving in Vietnam. Each of the men, who remain unidentified, share comments and anecdotes about what they went through there. An African-American man talks about how he had time served and rank and yet white men still got promoted over him. A white man shares his story about being harassed by a higher-up. While the camera cuts from speaker to speaker, we also see and hear some reactions from the others in the room, such as a reaction shot of a man nodding or a two-shot with another man laughing.
Other scenes offer more insights into the interactions among the people talking. One girl early in the film talks about bringing an African-American woman to her apartment before attending a show, and the landlord calls and tells her to have the woman leave immediately. The girl refuses to remove her friend, and the landlord gives them a 30-day eviction notice. As she talks, several people laugh almost nervously, making her smile as she talks though the man framed in the shot with her listens intently without much facial expression.
A conversation outside a Schwinn bicycle factory shows the most exchange among the speakers. Some start the comments, and others chime in to agree. Still others raise different points to the conversation. Shots show some people talking and other people listening, such as an African-American man talking and a white man listening.
While the sequences are set up as conversations with multiple people present, the editing still focuses on one speaker at a time for the most part. The conversation approach complements the discussions about race and class within the film in that it sets up a flow of honest, direct exchange. No sugarcoating happens here; the problems are clearly stated. One man says, “They say there’s a race problem between blacks and whites. It’s not really as much a race problem so much as it is a class problem.” After talking about the differing treatment of African-American and white factory workers, another man says, “You know who really gets [deleted]? Mexicans and Puerto Ricans.”
The comment that most stuck with me was this one: “We’re losing like 5-6 dudes a year.” That’s a sobering comparison to the number lost each day in Chicago. It would be interesting to hear what these conversations sound like today.