Scott Samuelson
Talking Movies
Whatcha want: Soul Power James Brown in Soul Power.
I
n Kinshasa, Zaire, on October 20, 1974, in what was billed as the Rumble in the Jungle, Muhammad Ali employed a strategy called the rope-a-dope, letting the reigning heavyweight champion George Foreman pummel him for the first several rounds of the fight. Then Ali began taunting the wearying champ, “They told me you could punch, George.” At the end of the eighth round, Ali concluded the beautiful fight by landing a hard right to the face. Twenty-two years later, in 1996, Leon Gast put together a documentary about the fight, When We Were Kings, which you should see or revisit. Soul Power is a documentary about what was originally conceived as a sideshow to that fight: a three-day music festival in Kinshasa of pan-American soul and Afrobeat: James Brown, Bill Withers, B.B. King, Celia Cruz, Miriam Makeba and Tabu Ley Rochereau, to name a few. But because Foreman cut his eye in training, the fight was delayed, and the music festival had to take place as a thing unto itself. Jeffrey Levy-Hinte, who worked as an editor on When We Were Kings, fell in love with all the footage of the festival. Now he’s gotten around to putting together this document of absolutely joyous music. Soul Power is a trip—literally. It follows the zigzag of emotions involved in most trips, especially those sustained by the dream of returning to the source. Like even the best trips there are parts—the downtime, the wrangling, the confusion—you could probably live without; in this case, there’s a fair amount of time
devoted to the headaches of scheduling musicians and erecting sound systems. But LevyHinte realizes, as serious travelers do, that it’s the petty detail-work that makes the trip possible and in the end provides the necessary contrast for the moments of illumination. Besides, the trip is well worth it; that’s clear from the first moment. Out of the darkness we hear James Brown holler, “I want to get up and do my thang—movin’, movin’.” After he’s sufficiently worked up, he proceeds to move,
Bill Withers' voice does to the soul what Foreman did to Ali. move, like only the Godfather of Soul can. After his signature splits, he pops up and breaks into “Soul Power,” and a beauty in sparkly bikini top, sparkly jean shorts, and boots up above her knees, starts swinging her lithe limbs to the infectious beat. After this taste of what’s to come, Levy Hinte takes us back and shows us the precarious preparations, the expectant airplane ride, and snippets of the people and landscape of Zaire. The movie culminates in a blaze of exuberant dancing and singing, broken up by a heartbreaking version of “Hope She’ll Be Happier” by Bill Withers, whose voice does to the soul what Foreman did to Ali. Soul Power has no time for talking heads lecturing us on what we’re supposed to know SOUL continued on page 29 >>
October 2009 | Little Village
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