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Give The Griot A Room: A Broke Radical Reviews 'The Last Black Man in San Francisco'

by Milton Goosby

"This film depicts the stages of growth, stagnation and damnation of black people in America, based on our journey through the hell that is democracy."
A still from The Last Black Man In San Francisco (2019) starring Jimmie Falls and Danny Glover
'The Last Black Man In San Francisco' (2019) (Still)

When the film opens we're presented with black San Francisco, colorful hair, cadence, shades of brown, and black.

A forgotten San Francisco, save when homelessness, pollution or police brutality is reported.

A raw city with a polluted bay and toxic fog shrouding the surrounding neighborhood.

As people in hazmat suits roam about a black man confronts them. "Why do they have suits and we don't?" he shouts. "They got a plan for us!".

While waiting on the bus, Jimmy and his friend Montgomery half listen to the street griot's speech. Musing on whether to stay or go.

Placement, abuse, and happenstance

Starring Tichina Arnold, Jimmie Falls, Danny Glover, Rob Morgan, and a groundbreaking role featuring Jonathan Majors, this beautifully shot film weaves a tale of individuals living on the financial outskirts of a stolen metropolis.

Lives and futures are shaped by a techno-global economy that disowns the impoverished; as spoken by Mike Epps' character, "You don't ever really own anything."

Not only denied ownership, but subjugated in such a way that the most basic needs come with a price tag. The gentrifiers make sure that the cost of living is too high.


Related: Confessions of an urban shaman


Placement, abuse and happenstance has allowed Jimmy to continue moving passively through the world. Without ownership, no claim to make save the aftermath of struggle on his face.

Days measured by pilgrimages to his childhood home. Jimmy is searching for pieces of himself, treading water against instability due to inflation, predatory practices, and desperate decisions.

He wants to believe that the system ultimately failed his family, that his encroachment upon the property is founded in legacy. That despite all the fast talk from his father, this house is a truth his grandpa manifested.

The new house owners make allowances for the minor repairs he takes on during his visit. Dripping nice white liberal onto the scene, saying the police be won't involved if he just went away.

When an inheritance dispute causes the house to be vacant, Jimmy and Montgomery take up residence. This is the hope Jimmy has held onto, a desire to have walls within which to express his joy.

Securing roots. For the uprooted, this is the lie we tell ourselves as we fight to hold onto square feet, or defend our worship of flawed fathers. Embrace rugged individualism like the shady real estate agent, or accept that the game is rigged. Thus taking up various cons like James Sr.

Barony in the land of the $7 taco

But this film is less about the failed hustles of Jimmy's father and more about the displacement of an entire people.

It's about how we're forced to adapt or disassociate when in the financial grip of the state or urban areas coded as wastelands. Unfit to traverse, a way station for those in limbo.

Further to this, once the world has been sufficiently sated on decades of media misrepresentation, the hood is deemed without value.

Once the decay is just ripe enough, developers con their way back into the city after years of white flight. They bring Whole Foods, Starbucks and new age, ergonomic thought spaces for the wave of urban adventures looking to express their values over $7 tacos.

Still: 'The Last Black Man In San Francisco' (2019)