Billy Sothern
“If God Is Willing and da Creek Don’t Rise”: Spike Lee’s riveting look at New Orleans, now
The filmmaker's new documentary suggests that the troubled, extraordinary city holds the key to our redemption
30 May 2010. New Orleans, Louisiana, USA.
Lower 9th Ward. Flag waving on the levee wall on the set of Spike Lee's latest movie for HBO. 'If God is Willing and the Creek Don't Rise.'
Photo; Charlie Varley.(Credit: Charlie Varley) Five years after Hurricane Katrina, New Orleans remains one of the most troubled places in the United States. Its woes are a consequence of the civic collapse that preceded Katrina, the devastating levee failures following the storm, and most recently, the unrivaled environmental devastation from the BP oil disaster. But New Orleans also remains the heart of American culture. It’s a place unrivaled in vernacular richness where people come from world around to eat, drink, listen and see — to live for a few days like many of us here live every day. Is it possible that the national seat of American tragedy can also redeem this country by refusing to give up its bon temps while fighting for its survival?
Spike Lee gives his answer in a new documentary, “If God Is Willing and da Creek Don’t Rise,” a loosely structured, four-hour meditation on everything right and wrong with New Orleans five years after Katrina. It premieres Aug. 23 and 24 on HBO.
The tensions are on display from the film’s opening. Its first scenes include, in sequence, an angry and defiant poem (“No more use of our Gulf Coast waters, wetlands, heritage and soil/ No more ‘Up yours Louisiana,’ because we all know there’s blood in that BP oil/ If God is willing and the creek don’t rise”) read by the star of Lee’s earlier New Orleans documentary, Phyllis Montana-LeBlanc (now a star of David Simon’s “Treme”); images memorializing Katrina’s devastation; and the joyous celebrations of the Saints’ improbable 2009 Super Bowl victory. Interviewed in a throng of people following the Saints win, an unnamed woman sums it up, “Four and a half years ago we lost our home during the flood, and we are so privileged and honored to be here. Living in New Orleans is a privilege. It’s not easy, but it’s a privilege and a blessing.”
The claim that it is “not easy” to live in New Orleans turns out to be one of the very few understatements in the documentary, which dwells at length on the many things that create this dis-ease — separate and aside from the storm that drew the country’s attention and the oil spill that refocused it. The viewer is led through policy debates and critiques and personal stories highlighting the demolition of New Orleans’ public housing projects and consequent housing crisis; the collapsed healthcare system (New Orleans’ public hospital remains shuttered because of political wrangling about the future of healthcare); the mental health crisis that has been responsible for murders, suicides and less-than-joyous substance abuse and drinking since the storm; the incompetence of FEMA in providing post-storm assistance to the city and the agency’s mismanagement of its emergency housing plan; the civil engineering missteps by the Army Corps of Engineers that made the city vulnerable to flooding and that have degraded our wetlands; the shattered education system; the out-of-control crime and violence that have plagued the city; the police corruption and history of police violence that have led to numerous federal murder and conspiracy indictments for officers involved in several, separate incidents; and deregulation that provided the opportunity for corporate greed’s fouling of the Gulf.
Any New Orleanian living here during the past five years will be familiar with these issues from their daily lives and from the news on the front page of the Times Picayune. They are issues that you live when you can’t find a place to rent that you can afford, when you cannot find a school where your child will receive a decent education, when you wake in the middle of the night to hear gunshots and know that someone’s life may have just come to an abrupt and violent end. These are the daily challenges of living here. And it’s useful to recall, in watching this documentary, that our individual efforts to overcome these obstacles are not just personal but part of a collective effort to keep this city alive.
The people telling the story in this documentary are many of the same people whose names appear in the paper. Some are policy wonks; others, activists or artists; but nearly all are fervent New Orleanians. Some of them speak in a strongly held hyperbole that hints at madness or mania, both about the good and the bad here. There are angry words, never precisely defined, about “the powers that be” and their efforts at “ethnic cleansing” on the one hand, and on the other, references to the Saints’ Super Bowl win that suggest a local belief that the victory was an act of God, as if New Orleans, like the long-suffering Job, had been rewarded for its faith. This is the bipolar parlance of life here, stemming from the widely held belief that the city is vastly better than, worse than, and not really a part of the rest of the country. Most of these sentiments are presented in the documentary without any evident endorsement from Spike Lee, who seems more enamored with his subjects’ intense feeling for their homes and threatened way of life than with the specifics of their claims. He is particularly interested in their suspicions about race, the government and corporations. The firmness of the beliefs held by so many people here is just as important as the accuracy of their claims.
But implicit in the framing of the documentary, and of most of the engaging books and films to come out of New Orleans since the storm, is the notion that the challenges that define life in post-Katrina New Orleans are the same vexing national crises on which the quality and success of 21st-century America will be, and should be, judged; that the same problems also exist in Lee’s beloved native Brooklyn and so many other places in this country. Despite Lee’s critique of the political and social realities that made the Gulf’s twin disasters possible, despite the seemingly endless images of dead bodies — human and animal — that we see in this film, “If God Is Willing and da Creek Don’t Rise” shows that Lee is not without hope.
He is clearly a partisan of this city, a place where real recovery and reconciliation are the daily work of thousands of people. The efforts of the people of this city and region appear to have given him reason to believe — despite the ever-present risk of rising water — that something better may yet emerge from the tragedies along the Gulf.
“Treme” feels like home to me
In New Orleans, we were braced to be misunderstood again, but David Simon's drama gets our city -- and yours, too
Steve Zahn, Kermit Ruffins and Wendell Pierce in "Treme."(Credit: Skip Bolen) I watched the first episode of “Treme” sitting on a couch that DJ Davis, the real-life version of one of the show’s main characters, peed on after a hard night of drinking. Everyone in the room knew the guy “from around,” so it was slightly odd to watch Steve Zahn’s performance as DJ Davis. But it turned even weirder when Steve Zahn’s character ran into the real-life DJ Davis, who gave a nod and a wink, in a bar where some of us had sat drinking with the real-life DJ Davis before.
Continue Reading CloseThe Saints are America’s team
New Orleans' great Super Bowl hope represents everything that's good about this tragedy-stricken city
New Orleans Saints fans show their spirit. Two weeks ago, the New Orleans Saints played the Minnesota Vikings for the National Football Conference Championship. My wife and I couldn’t watch the game alone — we didn’t want to bear the burden of defeat or experience the thrill of victory alone. Near kickoff, we drove the city’s streets just before the game started and they were eerily void of people just as I remembered them when I returned to the city days after Hurricane Katrina struck. We arrived at the uptown home of some friends, just blocks from quarterback Drew Brees’ house, and nervously ate the food and drink of this town. Our host had made a pot of gumbo, using a chicken he had fried and a dark roux. I separated yolks from egg whites, poured gin, heavy cream, simple syrup and orange flower water into my cocktail shaker and shook like crazy for a full minute to confect a round of Ramos gin fizzes, a drink invented in New Orleans more than a century ago. Despite our efforts, things looked grim in the fourth quarter. With the score tied and very little time on the clock, the Vikings had the ball, were in field goal range, and could take the game with a decent field goal kick. But we sipped our fizzes for good luck and a flag was thrown against the Vikings for something called “12 men in a huddle,” an unlikely mishap for the polished team, driving the Vikings back beyond field goal range, which forced overtime, where the Saints won possession on the coin toss and took the game with a field goal.
Continue Reading CloseWhy can’t the NYT and WP agree on Haiti?
How the media's conflicting coverage of race, class and the earthquake evokes memories of Hurricane Katrina
Those of us who lived in New Orleans during Hurricane Katrina are all too familiar with reading stories in the press, written by people unfamiliar with this town, its politics, geographies and citizens who descended just for the big story, that misunderstood either the details of our complicated city or what it and our neighbors endured here.
As we saw in New Orleans, much of what people got wrong was driven by their preconceptions about the city, with some quickly accepting as truth false rumors of unthinkable violence by the poor people abandoned in the city and others failing to realize that the flood destroyed upper-middle-class white and black neighborhoods, along with middle-class white and black neighborhoods, before stranding the city’s poorest (flooded and unflooded) residents, who became the most visible face of a much more complicated disaster. (People from other places still sometimes express surprise about this when I explain that a rich, white neighborhood was one of the first to flood.)
Continue Reading CloseCarondelet Street or bust
Driving all night back into occupied New Orleans, a man finds exhausted cops, a stray dog named Sancho Panza, and rotten chicken in his Katrina-damaged house. But nothing will keep him away from the city where the beer never stops flowing.
It was such a fine spring day,
down Louisiana way,
with fragrance divine, oh baby,
and such magnificent regalia,
oh so fine, Azalea.
I’ve got to go back there
and find that blossom fair,
I always dream of,
’cause with you who can be a failure.
My first love, Azalea.
– Louis Armstrong and Duke Ellington, from “Azalea”
A week ago Sunday, I saw the sunrise over the Mississippi River from my roof on Carondelet Street in New Orleans. I was up there with Wallace, a fellow refugee I had met the day before in Oxford, Miss.
Continue Reading CloseDreams unrealized
The nearly uniform complexion of New Orleans' victims is as clear an illustration of the failure of the civil rights movement as anything I've ever seen as an attorney for the poor in the city.
I left New Orleans for Oxford at 5:30 in the morning on Aug. 28 with my wife, my best friend, two dogs and a cat in a crappy Volvo sedan. I had spent the night at the top of a 24-foot ladder, drilling plywood into the window frames of the 1850s Greek Revival townhouse that we had resurrected from the brink of collapse over the past three years. We were tired, scared and reluctant to believe that our flight and all of our preparations were vaguely justifiable.
The three of us had moved to New Orleans from New York City four years earlier to do social justice work. Mike and I came to do death penalty work, representing poor people on Louisiana’s death row. Nikki, my wife, came to teach art in the city’s impoverished public schools. As much as we came to New Orleans to “do good,” we also came because we were drawn to the city — a deeply flawed but beautiful town. Nikki and I would often talk about how New Orleans fit into the pantheon of our most loved objects — it was a fleur du mal, a profound and elegant flower growing from extreme poverty and struggle.
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