Looking for Langston
1989 · Isaac Julien
A black and white, fantasy-like recreation of high-society gay men during the Harlem Renaissance, with archival footage and photographs intercut with a story. A wake is going on, with mourners gathered around a coffin. Downstairs is an elegant bar where tuxedoed men dance and talk. One of them has a dream in which he comes upon Beauty, who seems to reject him, although when he awakes, Beauty is sleeping beside him. His story and his visits to the jazz and dance club are framed by voices reading from the poetry and essays of Hughes and others. The text is rarely explicit, but the freedom of gay Black men in the 1920s in Harlem is suggested and celebrated visually.
dir. Isaac Julien · 1989
Isaac Julien's forty-five-minute meditation on Langston Hughes and the Harlem Renaissance is less a biography than a séance: a wake unfolds above, tuxedoed men dance below, and a dreamer moves through champagne bars, archival newsreels, and fields of calla lilies in search of a figure called Beauty. Made with Britain's Sankofa collective in 1989, it dared to state plainly what official memory had smothered — the queerness threaded through the Renaissance — and drew the wrath of the Hughes estate, which forced cuts to the poet's words in American prints. Julien answers censorship with sumptuousness: pearl-gray monochrome photography that ranks with the most beautiful of its decade, Essex Hemphill's poetry on the soundtrack, Robert Mapplethorpe's photographs interrogated on screen even as the film borrows their gleam. Alongside Tongues Untied and Julien's own Young Soul Rebels, it laid the foundation for what would soon be named New Queer Cinema, and its imagery echoes forward into Moonlight and beyond. Julien went on to a career spanning galleries and features; this remains his most quoted work — an archive turned into a dream.
Lines of influence
- The Blood of a Poet (1930) — Its statuary tableaux vivants and slow-motion poet-in-reverie establish the dream-logic staging Julien restages in his hushed black-and-white afterlife and nightclub scenes.
- Fireworks (1947) — A solitary man's homoerotic dream conjuring desiring sailors gives Julien the template for coded queer fantasia rendered as ritualized tableau rather than narrative.
- Meshes of the Afternoon (1943) — Its trance-film grammar — the looping dreamer, veiled recurring figures, elliptical match-cuts — underwrites Julien's non-linear oneiric editing.
- Un Chant d'amour (1950) — Silent, censored, lyrical prison homoeroticism supplies the poetic-erotic male gaze that Julien's Mapplethorpe-inflected nude imagery directly descends from.
- La Jetée (1962) — Meditative first-person voiceover laid over still and archival images — memory assembled as montage — is the essay-film register Julien adopts for his elegy.
- The Angelic Conversation (1985) — Languid homoerotic tableaux scored to recited verse (Shakespeare's sonnets) prefigure Julien's fusion of spoken-word poetry with slow, desiring images of Black men.
- Handsworth Songs (1986) — The Black British workshop-movement method — weaving archive, poetry and voiceover to reclaim erased history — is the collective essayistic practice Sankofa shared with Black Audio.
- Territories (1984) — Julien's own earlier Sankofa collage of archive, sound and fractured image around Black British spectacle is the immediate workshop prototype for Langston's method.
- Tongues Untied (1989) — Released the same year, it montages Black gay men's spoken-word poetry (including Essex Hemphill, shared with Julien) with performance and archive as both elegy and affirmation.
- Poison (1991) — A founding New Queer Cinema work that, like Langston, builds a Genet-derived fragmented poetic structure interleaving distinct visual registers rather than linear plot.
- Nitrate Kisses (1992) — Excavates suppressed queer history by montaging censored archival footage against contemporary bodies — the archive-as-elegy strategy Julien pioneered for Black queer memory.
- Young Soul Rebels (1991) — Julien extends Langston's Black-queer-British milieu and its charged looking between men into a feature narrative register.
- The Watermelon Woman (1996) — Fabricates a pseudo-archive to recover an erased Black queer figure, extending Julien's tactic of imaginatively reconstructing histories the record refused to keep.
- Moonlight (2016) — Its sculptural close-ups and reverie-drenched staging of Black queer desire draw on Julien's poetic image-making, a debt Jenkins has openly acknowledged.
- Love Is the Message, The Message Is Death (2016) — A gallery-scaled montage of Black-life archive cut to music as elegy and rapture, continuing the essayistic archival-collage lineage Julien moved between cinema and the museum.