I AM NOT YOUR NEGRO: A Bold Review

➡ The text discusses a 2016 documentary titled “I am not your Negro,” directed by Raoul Peck, based on the unfinished writings of James Baldwin, a civil rights leader and writer. The documentary, voiced by Samuel L. Jackson, won a BAFTA award for best documentary. It explores Baldwin’s views on America’s identity crisis rooted in the denial of racial tensions and racism. The text also discusses the lack of resolution in addressing these issues and the role of black culture in the American dream.
➡ A girl introduces her black boyfriend to her seemingly racist family, leading to an uncomfortable dinner. This event sparks a discussion about racism and the portrayal of race in media, as seen through the eyes of James Baldwin, a prominent figure in the civil rights movement. Baldwin uses his position as an insider in the entertainment industry to critique societal issues, despite not being an active participant in planning rallies or fundraising. The documentary also explores the differing approaches of Malcolm X and Martin Luther King Jr. to the civil rights movement, and how their views converged over time.
➡ The text discusses the speaker’s thoughts on America’s flaws and the experiences of civil rights activists like James Baldwin, Malcolm X, Martin Luther King, and Medgar Evers. The speaker appreciates Baldwin’s insights into the relationships between these activists and their struggles. The speaker also discusses Baldwin’s discomfort with various groups like the NAACP and Black Panthers, and his decision to move to Europe for safety. The speaker concludes with mixed feelings about a documentary on Baldwin’s writings, appreciating its presentation but questioning if it truly does justice to Baldwin’s work.
➡ The speaker expresses dissatisfaction with a documentary about James Baldwin, feeling it doesn’t capture Baldwin’s true essence. They believe Baldwin’s own words are more impactful than the documentary’s interpretation. Despite this, they’re excited for an upcoming Werner Herzog documentary month. The speaker also promotes merchandise from Paranoid American and ends with a rap verse.

And like, I’ve heard everything that James Baldwin originally said, but I first heard it as like a TikTok clip. They erase all the shots. They collect the dots under the docks. Under the docks? Yeah, under the docks. And we’re back under the docks where we watch the video. So you may not have to. Black History Month representing what’s good. I am not your Negro is A documentary from 2016 directed by Raoul Peck. And it’s also, like we’ve said before, one of the more fun documentary titles to say out loud. Oh, definitely. Yeah. Like, be careful where you say this is not work friendly stuff.

Right. You’re going to say that you may go to hr. Yeah, I guess. Yeah. If you say that out loud without any context, even with context, it might be a problem. Which do we just say I am not your N word or. That makes it sound even worse. Right? That does sound worse, actually. This one is essentially a dramatized archival footage version of an unfinished manuscript called Remember this House. And it was essentially based on James Baldwin’s unfinished writings. And if you don’t know who James Baldwin is, he was a civil rights leader slash writer, and he was personal friends with Malcolm X and Martin Luther King and kind of grew up around this exact same time.

He was actually senior to them. He was kind of seen as a mentor to these guys in some capacities where they would. He talks about how Malcolm X showed up at a lecture that he was giving at some point, kind of like making comments. I don’t know if he was heckling or what, but. But that he was a person on this scene. So James Baldwin becomes a pretty well known author. He dies of stomach cancer before he’s able to put this manuscript out. So it gets adapted into this documentary. The documentary is made in 2016. It goes on to win a BAFTA award for best documentary.

It’s voiced by Samuel L. Jackson at his most tame. By the way, we don’t really get the snake. Snakes on a plane. Samuel Jackson, for, you know, no MF reasons, no MFs at all. Dropped in the. In this film. Yeah, no, yeah, this one is a. Is totally. Well, maybe not safe for work just because of the. The topic itself, but it is very vanilla. Although it’s. It’s pretty interesting. I didn’t know a whole lot about James Baldwin going into this, and I do feel like I’ve got a better appreciation for some of the things that he wrote and said.

And this one, again, it’s interesting because this was his last unfinished work and I don’t believe that it ever really got published in another different format that got as much recognition as this. So watching this documentary, I guess, is kind of like. Like a. Like a book on tape, but like a book on video as you watch. Plot in the course. This one, again, since it’s like a manuscript, it’s kind of poetic the way it’s. The way it’s written. It’s not necessarily like, here’s an argument that I’m going to make and here’s all the facts that kind of back it up.

So the. I tried to extrapolate some of those claims, although these claims are not necessarily made verbatim throughout this. So in general, I think that James Baldwin’s central thesis of this particular work is that America has an identity crisis that’s essentially rooted in a refusal to acknowledge racial tensions and that there is an actual problem with racism and that the more it’s denied, the. The wider that gap becomes and that you can’t just brush it under the rug that even white people, if we’re just simple things down into, like white people hate black people. And that’s the problem.

Even if that were as simple as. As said, that it’s still everyone that is is not benefiting it from this. Everyone is being pulled down. And that until the, you know, everyone can acknowledge that there is racial tension, that there’s never going to be progress in any capacity, which is sort of pessimistic. But then James Baldwin also says, I’m not a pessimist because I’m still alive, which seems to me like a very pessimistic thing to say. Right. But that in his logic, that it’s not pessimism, that it’s actually optimism that he’s working from. Yeah. And part of the issue with some of these kind of statements to me is like, there’s no resolution.

Because you go like, yeah, once we acknowledge it all, then you’re like, okay, what’s the next step? Say we all acknowledge that racism does exist, which there is to me, I think prejudice more than racism. Okay, what’s the next step? Right. We acknowledge that things did happen messed up in history, which we can definitely acknowledge. And then there’s still to this day that there is people that have their biases for whatever reason, whether it’s because of family, inherited, or talking to people a certain way, or maybe had a bad experience with said race. Okay, how do we move forward? And that’s where like these waters get murky because it’s like, whoa, we can’t really move forward until you admit it.

But then when you admit it, we’re going to still tell you you’re wrong. And it’s just like endless loop of pess optimists like that, and you never get anything done again. I guess one of the arguments that I’m paraphrasing from this, but it’s that the, the concept of American, like the American dream, can exist without denying black humanity and black contribution to that society. To the point where now in order to truly pursue the American dream, you have to also deny, like, black culture. Not, not because the American dream would fall if it were criticized too hardly.

It’s just that denying black culture is so part of the American dream that you, like, either you don’t buy into the American dream at all now because you’re like, oh, well, it can’t accept black culture, or you also sort of start denying that and that this is not a racial thing. It’s not like, if you’re white and you want to pursue the American dream, if you’re any color at all and you want to pursue the American dream, then you have to deny black contributions to it just because it’s. It’s incompatible. That’s kind of paraphrasing what I was understanding James Baldwin writing about, which is leading what you’re talking about, how it’s.

It’s almost like there’s no solution in play here. It’s just like, here’s this gaping wound that you might die from, and there it is. Like, we’re not going to tell you how to patch it or anything. I’m just letting you know that it’s there. Yeah. And that’s the frustrating part about, like, these kind of films. Like, I don’t think this was necessarily bad. Like, there’s well produced, well edited. Like, even James Baldwin’s obviously a great writer, right? Like, his writing ability is good. I just don’t necessarily agree with his message. Like, I, I agree with partial of his message of like, hey, there’s this problem, but how do we address it? Like, and, and I thought, like, as we’d go that we would resolve it, but spoiler alert.

Fix these problems. James Baldwin. Geez. So the, the other claim is that white innocence is like a danger to everybody. And the white innocence basically meaning, like, oh, well, those weren’t my ancestors. Or even if it was that, that was my great great grandpa that owned slaves, not me. So I’m not really tainted, right. Like the sins of the father kind of thing. And again, I mean, now in 2025, right, some of this stuff, it went from you hear James Baldwin talking about it and it’s like, damn, this guy’s got a good point. The way that he’s communicating it, it’s that like he’s making a great point whether or not you agree with it.

Like he has merit where he’s coming from. But you hear a 2020 version of this and like I’ve heard everything that James Baldwin originally said, but I first heard it as like a tick tock clip or as like someone like, like, you know, doing like a, like snapping in your face as they’re like saying some of these quotes and it’s like, oh man, this is where some of that came from. It came from like these writings of James Baldwin, some of these thoughts. But he was able to phrase it in a way that, that wasn’t just like white silence is violence, right? Like I, I hear the cheerleader versions of this that come out of protest, but his version of that is how like Hollywood and American culture that they put white heroes on pedestals.

And then like the black people in movies aren’t necessarily the villains always, but they’re just going to be a background character. They’re just going to be someone that’s not the main leading hero, protagonist. And actually throughout this documentary they keep showing clips of Sidney Poirier, who was like a famous black actor at the time. And one of the main movies he was in was called Guess who’s Coming to Dinner. I think that’s the name of it. And the whole premise of the movie is that a white girl brings a black guy to dinner at her family’s house and everyone’s too polite to outright like, deny him entrance, but he has to go through like a very awkward dinner, you know, with like a, like a clearly racist family that they themselves do not consider themselves racist.

And, and then Sidney Poinier actually gets criticized by the black community for like not standing more up as if he wrote the movie and didn’t just get hired to act in it, but the, the. It starts a trend throughout this documentary where not just the documentary itself, but James Baldwin, he constantly will use movies and TV shows as his examples. Like he, and it’s because he kind of lives inside of this community of actors and pop culture makers to where I, I think that he, he doesn’t come across as the same everyman on the street, maybe like Daryl Davis did in the previous documentary.

Baldwin kind of comes across as an insider and, and he even acknowledges that he is an insider, but he kind of criticizes himself. He’s like, I’M not the insider that’s planning rallies or raising money or deciding what to do with the money. And I don’t have any responsibilities at all other than to be a witness to just what’s happening and to write down my thoughts and then to spread my thoughts about what I’m seeing. Like that, that he recognized that that was the greatest contribution that he was willing to make throughout this movement. Surrounded by people that were literally putting their life on the line constantly.

And just to go back, it’s ironic because the, the film that they’re criticizing him for, you know, now in the modern times, you have the, in 2005 movie, Guess who, with Ashton Kutcher being the white guy that’s going to meet the black family, that his black girlfriend’s going to introduce him to her black dad, which is Bernie Mac, which is a pretty decent movie. But I just think like, to me that’s progress, right? Like, that’s kind of like, okay, like I get where he’s saying, but his point of view and, and we gotta remember that like he died in 1987, so him died in 1987 is, is a big drastic change.

And plus he’s sick for those couple years, I’m sure. Like, you know, you’re sick and you’re going through all this stuff. And what he was writing was more into that 50s 60s era, if you ask me. Another one of the, the claims I kind of derived from this documentary was that Malcolm X and Martin Luther King Jr. Were seen as almost opposing sides on the same fight, that Martin Luther King was non violent and let’s just go and like peacefully protest and just occupy spaces and that Malcolm X was almost like by any means necessary with the, you know, the gun looking out the window kind of thing.

And he, they make a point in this documentary, or at least Baldwin is through his writings in that as time went on, they actually started to become the same. Like Malcolm X lost a little of his edge and realized you have to do a certain way. And Martin Luther King realized, oh, maybe you can’t just always turn the other cheek. And that was one of the big criticisms. It was like Malcolm X is like, look at this guy just turn the other cheek, just letting everyone just beat up on him. And they both kind of came to the same middle ground and then they both died, right? They both, both got shot, they both got assassinated.

Which is a disappointing part of this film is like, why aren’t they dissecting like the actual assassinations? Like they’re just more focused on the Hike. Yep. Like, devil killed him. You got to remind you, or at least when I was watching this and reminding myself, that this is not a documentary that’s trying to explore any of the claims made. It’s literally just putting video and context to the writings of James Baldwin so that if James Baldwin didn’t himself investigate or research something, he, like, the documentary is not going to get into it either. The last one that he mentions is that clearly James Baldwin was gone before Ferguson and Black Lives Matter and all this.

But they do a decent job of superimposing modern footage from, you know, like, Ferguson riots on top of what James Baldwin is saying. But he’s talking about, like, the 1960s. Right. But it’s. It kind of is showing, like, okay, here we are 60 years later. Let’s check back in and see how America’s doing. And it doesn’t look like it’s doing so hot based on the juxtaposition of these clips that they’re using. On top of that, I think it was well done. And it’s making the point that the things that James Baldwin was criticizing America for are timeless in a way.

The fact that you can put footage from 60 years later on top of what he’s saying, and it’s like, oh, this guy wrote this about the Ferguson riots. I guess it. It just gives more credit to James Baldwin being an influence for good reason. Yeah. And again, like, the. The film. This is not nothing to knock on the film, but because it is James Baldwin’s memoir. And one of the things he said that stood out to me, which I thought was interesting, and this is aware of this. How do we get moved past these moments where he said, the root of black Americans hatred is rage.

Right. Like, from slavery and Jim Crow laws. And he said, the root of the white Americans hatred is fear, where it’s like, you know, they fear the black man or they fear this other race. And I was like, it’s just sad that at that time that more people couldn’t be more nuanced and be like, hey, maybe there’s somebody controlling this, but, like, maybe there’s like, a puppet master that likes us to be divided. Like, I just get disappointed that nobody goes down those avenues of, like, yeah, don’t you. Doesn’t this look intentional? Like, to me, I’m like, yeah, it looks intentional, bro.

Like, and then he even goes further into, say, white is just a metaphor for power, and he brings in, like, Chase bank, and I’m like, that’s, like, not fair to, like, all these, like, White rednecks that are just as poor as anybody else. Right. And it’s always these poor people that are fighting against each other, and they. They don’t get any. They never get anywhere because they’re too busy. Like, oh, well, you know, you’re a piece of crap because your ancestors had slaves or somebody that looked like you may have had it. And we’re in this endless argument.

And that’s the part, like, I. I understand where he’s coming from. I think he’s very poetic. He has. He’s well read, obviously. He’s. Well, he’s constructor sentences perfectly. But I just think that, like, he should have been around more people. Like, that’s why, like, Daryl Davis is approached a little bit, because Daryl Davis seems to be. Have talked to many other people, and it seems like Baldwin is only in this echo chamber. I think this is a perfect time to get into the hidden treasure and overboard moments because there’s so much hidden treasure in this one.

And you were. You were kind of going on. On some of, I guess, the overboard moments where James Baldwin is kind of living in a little bit of a bubble. What else. What else you got? What are. What are, like, the full pros and cons for you on this documentary? I’ll say the pros. Towards the end, they have, like, actual. I thought this gave me a better look at James Baldwin because some of the overboard moments is that, like, you got Samuel Jackson talking softer than you’ve ever heard of in your life. Yeah. And he’s trying to adapt James Baldwin’s writing.

So sometimes I think the way that he spoke, like, maybe misconscused or makes me think, like, oh, that this is where Baldwin’s going with it. But at the end, they have, like. I don’t know if he’s in front of, like, district judge or like, city council or some kind of, like, formal government thing, and he’s speaking. And I thought his message was way easier to digest where he’s like, hey, man, I’m trying to change this. I’m trying to, like, get this move forward. And I felt like more that Daryl Davis of, like, let’s unify. And I think that part of this and me seeing that made me respect the film more because I was like, at first I’m just listening to it.

So I’m like, Then I had to go back and remember, this is his memoir. He’s writing all kinds of thoughts throughout his entire life, and he didn’t get to finish it. I don’t know where he would have went. So I don’t want to judge the man on something that’s incomplete. And I thought that they did a well job at the end. Kind of giving you the real message of Baldwin that like it wasn’t just this pessimistic look, that he did have some plans for the future to really get things going. And some of the other overboard moments for me was like, I know they were trying to compare and I get it right, Like America’s still not that great, but when they’re trying to like be like we’re the fattest country and, and like you can’t do this anywhere and like, like we’re the only country that you get this privilege of, of living.

Like. And then I’m thinking back and Baldwin’s talking about being in France and in, in England and I’m like, bro, like, literally England is the leader of the slave trade. Like, what are we doing here, man? Like, how are we acting as if like it’s just America, bro. Like. But I think that goes back to the echo chamber of the times. That’s why I think at the end where they kind of. Because they even try to like mesh like TV still trash. They show like, you know, like a Jerry Springer episode. They show like some Ferguson shots where I’m like, yeah, I get it.

Like America is a melting pot of like chaos, right? That’s pretty much what it is. And we have all kinds of flaws. But it ties it in at the end I think like where it kind of like made the message for me. You know, I had some ups and down moments with it. But I would say over the more Hidden Treasures was actually getting the insight of Baldwin knowing how close he was to Malcolm, knowing how close he was to Martin. And they even go into. I think there was another figure, maybe Eugene or I couldn’t remember his name.

Another high civil rights activist. Like he was in time. Medgar Evers was the other person that comes up and, and you know, like how emotional and like I always think that’s a, a crazy time. Like he talks about like getting the phone call in London that you know, Martin was killed and like Malcolm was killed and how he is correct that I think that you cut off the heads and. And now it’s like the message is not what you wanted it to be. Even though I don’t necessarily think that was the total all message. I like the little bits and pieces of Malcolm’s and Martin’s which I think everybody has their own little spin on everything.

But I think the boil down the Hidden gem, biggest one for me is that how he, he, he really brings out what Malcolm and Martin’s like how their lives kind of merged together from going from militant to like softer hand, where they actually communicated when it more seemed on the broader spectrum of like where they’re like, oh, Malcolm and Martin probably don’t even like each other. Like they didn’t necessarily say that, but the, the way you spin it. And he was able to fill in that blank of like they were closer than we probably think. And the.

Not to discount Medgar Evers. So if you have never heard of him, I hadn’t heard him before this either. The reason he gets brought up is because James Baldwin kind of puts him in the same category. You’ve got Martin Luther King, you’ve got Malcolm X and you’ve got Medgar Evers. And all three of them were assassinated like, like during their height. And Medgar Evers was a civil rights activist, he was a soldier and he was like a, like a secretary of NAACP in Mississippi, like the very first. So he was kind of on putting himself in danger’s way and like becoming, you know, and the NAACP thing, this was one of the interesting notes is that James Baldwin is talking about how he himself didn’t get down with the, the NAACP for the same reason that he didn’t get down with the Black Panthers for the same reason that he didn’t get down with the black Muslims.

And it’s, it’s all because the. So the premise that he was describing about the Muslims is that they believe in this white devil. And he didn’t really believe that, that all white people were the devil. He couldn’t get with the NAACP because the NAACP was just the black version of white America. It was still a classic system that you had to be in the high class in order to have any impact. And so he disagreed with that. And he said he also rejected Christianity because he saw hypocrisy, that people were ignoring Jesus’s main commandment, which is love each other, like I love you.

And since he didn’t see any of these things, he didn’t relate to any of these groups. And they don’t really stress this too much in the, the actual movie, but he was on the FBI watch list and they had all these notes where J. Edgar Hoover himself is like, isn’t this guy gay? Like, isn’t like. And it’s the way that it’s phrased, it’s like we can use this to discredit this guy. And I guess now if you look up James Baldwin. He’s seen as both a black activist and a retro fitted LGBTQA plus activist just because he maybe didn’t like, overtly hide it.

Although you don’t get that impression at all from watching this documentary. I think that one of the interesting treasure, like Hidden Treasures here, where I’m kind of on your page too, where it’s, it’s like all of this critical theory about, like, bring everyone down and what about these poor Appalachian people, like, how are they benefiting from, you know, the system and all that? I think that there’s a really good way that he, he phrases this in a way that I was like, oh, that is right. And he mentions about how he, he’s like, I just want to be a writer, man.

Like, I know that there’s a bunch of stuff going on in civil rights movement. I just want to sit in a room and write a typewriter and not worry about being murdered. That’s. That’s the only thing that I want to do right now. And the only way that he could feel safe enough to do that was to move to Paris. So he, he moves to France and just Europe in general. And he, he claims that that feeling immediately went away. Like he doesn’t feel like if he goes out on the streets, he’s going to be beat up or murdered by police officers.

And it was like, that is not a horrible point to make that between like the 19 whatevers up into. I don’t know, even today, you might not feel as safe on the American streets as you would out in Europe somewhere. And then I guess it’s despite England being behind the origin, you know, the originators of the slave trade, that you can still walk down the streets in London without worrying about maybe as much about Babylon coming down on you. I don’t know if that’s true or not, but he, he makes a very strong argument to, hey, look, you can talk about statistics and theology and philosophy all you want, but I don’t feel safe in America and I do feel safe everywhere else.

That’s not America. The same way that in the previous documentary that Daryl Davis was like, I feel safer in the home of a Klansman than I do on the streets of Ferguson right now. I guess this weird juxtaposition, but I, I thought it was a poignant way that he kind of conveyed that was like, hey, I don’t feel safe enough to write a book on a typewriter without dying. And that’s what I’m talking about. That’s the whole, like, privilege and Guilt and like unresolved tension. That’s what I’m talking about is that I, I’m worried I’m going to die.

All right? Sink or swim. I gotta swim for this. I actually, like, there is like, obviously like the message. I don’t agree with all of it, like, Right. Because that’s just my. How my mind goes. But I thought it’s well put together. It’s a, it’s a good. You could see why I won awards as far as like the, the editing value. It’s a nice tight 95 minute, 94 minutes. Not like, you know, a lot of these other films that were. Sometimes you could get into the weeds real quick with these three four hour documentaries. Thought it was presented well.

I thought it, it represented what it was supposed to represent as far as Baldwin’s writings. And that was the point of this. So swim for me. I think I gotta give this one a sink. And I hope that’s not a hate crime to do that because I know it’s like one awards and it’s really important. Here’s my, my reasoning and this is my own bias. Right. First and foremost, I don’t know if this particular documentary did the writing of James Baldwin justice, because every time they’re reading what James Baldwin is talking about on the screen, but it’s in like Samuel Jackson’s voice.

And every time that they’re juxtaposing it with some video footage of something, I find, I find myself like, I don’t know if I agree with any of this. Like, it’s almost like I’m reading an Internet debate on Reddit or something. I’m just like, I don’t really think that this guy’s. But then when they show a clip of James Baldwin actually talk, like on video, having a conversation with someone, interrupting someone. And like, I disagree with you for these reasons. When they show James Baldwin speaking for himself, I’m on board. I’m like, damn, like, this guy’s making a great point.

And as soon as they don’t have archival footage of him talking, I’m like, I don’t know if I, if I believe this. This sounds like it’s a stretch. And it, in my mind, I’m just like, man, this documentary is not doing James Baldwin justice. Even if it’s a great documentary, even if it’s winning awards and it’s doing all of these things, it seems like it’s diluting at best and at worst. It’s almost, you know, like you kind of mentioned it, Samuel L. Jackson kind of Whispering these things with like a riot in the background. It’s not what James.

It’s not the same nuance that James Baldwin had. James Baldwin has this like angry disbelief, right? I don’t think it comes from a place of fear or rage. Like his anger comes from a place of confusion. And. And it’s so much easier to relate to him when he’s talking versus when the documentary is talking for him. So for that reason, it’s like, I want to give James Baldwin a swim. But we’re talking about a documentary adapting James Baldwin stuff. So the documentary gets the sink. On the horizon. We’re going to do a freaking Werner Herzog month.

Verner. Werner. Verner. Werner Herzog month. We’re gonna watch Grizzly Man. We’re gonna watch Cave of Forgotten Dreams. So we’re going to talk about a documentary called Lo and behold, you don’t know who Werner Herzog is. He’s got a funny German accent that is hard to not hear. And he makes some pretty damn good documentaries. So I’m actually excited about this one. Me too, because I’ve heard the hype and I have not watched any of these. So this is all brand new material for me. So, yeah, we’re gonna get a newbie’s perspective on Werner Herzog after watching.

If you can’t get a. Get a good read on someone after watching three of their documentaries, then what are you even doing? Right? So I’m excited to see what you think about it. Likewise, man. I. I’ve heard a lot of good things though, you know. And don’t Forget, go to paranoiamerica.com Kill thembirds.com Go buy that merch, man. I think we got. We got comic books. Anything you need, man, we could get it to you and then inbox us and we got special treats. I think this is another under the docks Peace. Dots under the docks under the docks.

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