Sugar, co-directed by Harry L. Michaels Jr. and Byron Nora, follows the tribulations of the James family in the 1940s, moving to the L.A. Berklee Hills neighborhood, now affectionately known as “Sugar Hill.” They are Black, and back then, the neighborhood was exclusively White. Walter James (Melvin Ward) works in insurance and owns a beautiful new red Cadillac. He has done well enough to afford a spacious new home for his growing family. His wife Bertha (Koffee Hill) is delighted with his success. Their joy is tempered when the White neighbors organize and try to have them ejected. The Whites are hateful and refer to the James family as “animals.”
Legal petitions are made to make them move, and Walter is fired from his job. Throughout these challenges, the family stands their ground, insisting they have the right to live there. A further obstacle arrives in the form of an eminent domain notice that a freeway will be built through the neighborhood. Bertha tries to organize a protest, but the Whites are not receptive to her efforts. In fact, one of the neighbors is responsible for the freeway, to force the Black families to leave, despite the fact that Whites will also be displaced. This is a shameful time in our history, and it’s not over, even now. Of course, the backdrop of this period is the burgeoning U.S. Civil Rights movement, so we know the trouble is just beginning.
The film’s production quality is good, but not perfect. Some scenes have poor light balance, either washed out or too dim. The sound is mediocre, with some dialogue hard to understand. Performances are not polished, no doubt because of the limited budget. The message still comes across powerfully, making it an entertaining and edifying experience. While the film is set in L.A., the White men have a vaguely Southern accent. While it’s true the South is a focal point of American racism, being racist does not give you a Mississippi accent, even in 1940. As a Southern transplant myself, this is annoying.
“…follows the tribulations of the James family in the 1940s, moving to the L.A. Berklee Hills neighborhood…“
Minor flaws aside, the film’s cinematic texture is excellent. The sets are beautiful, especially the home interiors where Walter and his family live, both before and after their move to Berklee Hills. Their new house and grounds are stunning. Walter and his family are always exquisitely dressed, as are the other Black characters. Costuming shines in this production. There is some lovely music. The viewer is treated to torch song performances at a nightclub, in unmistakable 40s style.
White outrage swelled when Black people began to enjoy some financial success. This topic was explored in the ACLU documentary Who We Are: A Chronicle of Racism in America, and in the HBO series Lovecraft Country. In the ACLU doc, a similar situation is discussed in which a Black family wound up asking a White friend to negotiate their search for a home in Chicago, and suddenly, properties that had “complications” became freely available. The seller and the neighbors were furious about the tactic and that a Black family was moving in.
Sugar is a timely reminder of persistent racial injustice in the United States, in an age when the field-leveling effects of “DEI” have fallen out of favor, and White supremacy is on the rise again. The scenes of home life are cozy and comforting. The filmmakers lay out this story with heart and authenticity, making it well worth your time.
"…a timely reminder of persistent racial injustice in the United States..."
