Steve McQueen’s Anthology ‘Small Axe’ Provides Insight Into The Black British Experience

It has been reported that the Oscar and Turner prize-winning director Steve McQueen began working on Small Axe ten years ago. Moreover, it was initially conceived as a conventional television series with a serialized story. However, during its development, McQueen realized he had sufficient material to make five distinct films about the experience of black people in Britain. The films are titled ‘Mangrove’ ‘Lovers Rock’ ‘Red, White, and Blue’ ‘Alex Wheatle’ and ‘Education’. The cast includes strong performances by some of Britain’s brightest acting talent, including Letitia Wright, John Boyega, Malachi Kirby, and Shaun Parkes. The series has already received accolades, including nominations for best picture, cinematography and music at the Los Angeles Film Critics Association Awards, and Chicago Film Critics Association Awards.

Mangrove, the first in the series, is by far the most powerful and gripping.  Co-written by McQueen and Alastair Siddons, the film documents the history of the Mangrove restaurant in west London and the 1971 trial of the Mangrove Nine, a group of British black activists tried for inciting a riot in 1970.   ‘Red White and Blue’ is another commanding entry and stars  John Boyega as Leroy Logan, an officer in the London Metropolitan Police who founded the Black Police Association and attempted to reform the police force from within. The third significant entry tells the story of  Alex Wheatle, a black British novelist who was sentenced to a term of imprisonment. Wheatle,  who was later awarded an MBE for services to literature, is highly regarded but the film follows the anthology’s trend of falling short in exhibiting the psyche of the protagonists, illustrating their abilities to overcome adversity or homing in on their achievements, despite the social obstacles of the time.

Whilst celebrating the fact this series was aired at peak time on the BBC’s primary terrestrial channel, it remains disappointing that, aside from Mangrove, each film demonstrates institutional racism, marginalization, and societal strife without typifying how members of London’s West Indian community successfully tackled issues and reached greater heights despite the challenges. Whilst we should highlight the levels of racism encountered,  It would have been advantageous to also document, with vigor, subsequent chapters in these real-life stories that exemplify the assertiveness and determination of individuals to force change, to overcome challenges faced in hostile environments, or their ability to cement hope, inspire and motivate others.

Having personally grown up in London during the 1980s, I for one looked forward to watching the series, reflecting on my personal experiences of racism, whilst fondly remembering my youth, attending blues parties, or family life in a loving Caribbean household. The production, particularly the cinematography and costume design, is excellent and enables us to transport back in time with ease.

The films ‘Lovers Rock’ and ‘Education’ are notable entries but there are several nuances to the storylines and characterizations of West Indian families that seem altogether removed from my own and many others’ experiences of growing up in 70s/80s Britain.   For example, I doubt any African or Caribbean mother of this generation would go straight into her kitchen and season food immediately after arriving from work in their uniform. The dynamics within a Caribbean household seem to have been overlooked.  In addition to questionable parental attitudes towards education, the depiction of highly-strung, argumentative and aggressive male figures play to stereotype and the portrayal of some West Indian adults being semi-literate is also disturbing, considering a majority of West Indian migrants arriving in Britain were tradesman/women educated to standards comparable with the best of British state schools. As part of Britain’s Empire, basic education and required skills played an important role and right of passage into the UK from the Caribbean. Unfortunately, due to discriminatory practices, many were forced to take any job just to survive and execute their responsibilities as husbands, wives, and parents. Whilst there may indeed be cases to the contrary, this was certainly a lost opportunity to create a constructive narrative and depiction of what the West Indian community was like and how they’ve contributed to post-war Britain.

The BBC describes Steve McQueen’s mini-series ‘Small Axe’  as ‘love letters to black resilience and triumph in London’s West Indian community’.  As a talented filmmaker, McQueen’s project must be credited at least as a turning point in British filmmaking. The series does have its merits and is an important entry to the list of  British biographical film productions. In summary, as watchable dramas, the series provides insight into Britain’s past and the ‘Black British experience’ but doesn’t go far enough in challenging the prism through which the diaspora is commonly seen.

Small Axe is available in Amazon Prime Video and BBCi Player (UK)

About Author

David Emmanuel Noel

David Emmanuel Noel is an avid blogger, film fanatic, art enthusiast, music lover, and theatergoer. He is an interdisciplinary artist, curator, and PR consultant who has been involved in several music events and visual art exhibitions at venues such as the Kennedy Center Washington DC, Bernie Grant Arts Centre London, the Landmark Arts Building New York, and Whole 9 Gallery in Culver City, California. He has worked closely with institutes, professional bodies, and agencies such as the Royal Institute of British Architects, New York Mayor’s Office, CAMBA- the New York-based agency, the NSPCC, and several London Boroughs on projects supporting the environmental and therapeutic benefits of the arts. He is based in London and New York.

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