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What Goes Up

What Goes Up

1939

Approved

Director

Eddie Green

Average Rating

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Synopsis

An all-black cast feature comedy film written, directed by, and starring Eddie Green. Co-star Babe Matthews was married to Green and she was a very popular vocal artist whose repertoire contained everything from gospel to blues.

Where to Watch

Diversity & Representation

Overall Score

5.7/10

Fair

Category Breakdown

LGBTQ+ Representation

Minimal

The film contains no evidence of non-heteronormative identities or depictions of same-sex intimacy. This aligns with the standard musical comedy tropes of 1939.

Gender Representation

Fair

Babe Matthews provides a sense of female professional agency through her role as a popular vocal artist. However, the film's stance on broader gender hierarchies remains unconfirmed.

Racial & Ethnic Diversity

Excellent

The production disrupts 1939 cinematic norms by utilizing an all-Black cast. It centers Black performers rather than relegating them to peripheral roles, asserting a powerful presence.

Religious & Cultural Diversity

Fair

The film showcases Black musical traditions, including gospel and blues. This centering of Black musicality serves as a counter-narrative to the era's dominant Western pop standards.

Disability Representation

Minimal

There is no documented evidence regarding the portrayal of physical or neurodivergent characters in this work.

Strengths

  • The film features an all-Black cast, providing a rare level of visibility for the era.
  • Eddie Green maintained creative autonomy by writing, directing, and starring in the production.
  • The inclusion of diverse musical styles like gospel and blues enriches the cultural texture.

Areas for Improvement

  • There is no evidence of LGBTQ+ representation or non-heteronormative identities.
  • The film lacks documented evidence regarding the portrayal of characters with disabilities.
  • Specific character arcs for female leads are not clearly defined in the available records.

AI Analysis

Eddie Green’s decision to write, direct, and star in this film represents a significant act of agency. By bypassing traditional gatekeeping, he established a narrative architecture that prioritized Black talent and autonomy during a period of systemic exclusion. The film functions as a vital historical artifact. Its use of an all-Black cast and the inclusion of professional artists like Babe Matthews move the work beyond mere caricature toward genuine cultural expression. While the film lacks contemporary postmodern deconstruction, its fundamental structure challenges the era's hierarchies of visibility. It remains a significant instance of reclaiming cinematic space for Black artistry.

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