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5.2/10
Archivist John
Senior Editor
A definitive 5.2/10 rating for a film that redefined the boundaries of cult cinema. Film 7 remains a cornerstone of transgressive art.
Is Film 7 a hidden masterpiece of early 20th-century cinema? Short answer: No, but it is an essential historical document that rewards the patient viewer with a perspective rarely seen in the silent era. This film is for history buffs, fans of early 16mm cinematography, and those interested in the Black diaspora's gaze on Europe; it is not for anyone looking for a scripted plot, character arcs, or high-octane action.
1) This film works because it captures the raw, unpolished scale of 1920s maritime travel and European architecture without the artifice of a studio production.
2) This film fails because its lack of narrative structure and silent, unedited nature can feel repetitive to those accustomed to modern storytelling.
3) You should watch it if you want to see the world as it looked a century ago through the eyes of an African American traveler documenting his own reality.
Solomon Sir Jones was not a Hollywood director. He was a man with a camera and a mission to document his world. In Film 7, we see the results of his curiosity. The film doesn't rely on the slapstick humor found in Mighty Like a Moose or the heavy religious symbolism of The Star of Bethlehem. Instead, it offers a blunt, almost voyeuristic look at the physical structures of power in Europe.
The cinematography is grounded in the 16mm format. It is grainy. It is shaky. But it is honest. When Jones films the massive hulls of ships in Liverpool, there is no attempt to glamorize the labor. He simply records the sheer mass of the steel. This isn't the polished London of For the Queen's Honor; this is a city of stone and scale, viewed by a visitor who seems equally impressed and detached.
The film’s pacing is dictated by the journey itself. We start in the industrial North of England. The footage of Liverpool is particularly striking because it focuses on the mechanics of travel—the cranes, the gangplanks, and the churning water. It lacks the comedic rhythm of A One Cylinder Love Riot, replacing gags with a somber appreciation for engineering.
Moving into France, the tone shifts. The camera moves through Paris with a sense of hurried wonder. Jones captures the typical sights—the Eiffel Tower, the wide boulevards—but his framing is unconventional. He often lingers on the crowds, capturing the fashion and movement of Parisians in a way that feels more like a time machine than a movie. In Versailles, the focus turns to the symmetry of the gardens. Here, the film takes on a regal quality, though it remains grounded by the flickering quality of the film stock.
"The grain of the film serves as a veil of time, making every frame of Versailles feel like a recovered memory rather than a planned shot."
There is no traditional pacing here. Film 7 does not build to a climax. It does not have a third-act twist. It simply exists. For some, this will be a dealbreaker. For others, the lack of artifice is the main attraction. The tone is one of quiet observation. Jones doesn't use intertitles to tell us how to feel. He lets the images of Marseilles’ port speak for themselves.
The editing is primitive, likely done in-camera or with minimal post-production intervention. This creates a staccato rhythm. One moment we are looking at a royal palace, the next we are on the deck of a ship. It is jarring. It is raw. But it reflects the erratic nature of travel. It feels more real than the staged drama of The Mystery of No. 47.
Whether Film 7 is worth watching depends entirely on your interest in archival footage. If you are looking for a story, you will be disappointed. However, if you want to see a primary source document that captures the 1920s without the filter of a major studio, it is a fascinating experience. It provides a unique historical perspective that is often missing from the cinematic canon.
Pros:
- Authentic 1920s footage.
- Rare perspective from a Black filmmaker of the era.
- Fascinating look at historical transit and architecture.
Cons:
- No sound or music.
- Shaky, amateur camera work.
- Repetitive subject matter.
Film 7 is a ghost. It is a flickering remnant of a world that no longer exists, captured by a man who wasn't trying to change cinema, but simply trying to remember his trip. It lacks the polish of Frou Frou and the charm of A Youthful Affair, but it possesses a weight that those films lack. It is a heavy, silent witness to history. It works as a document. It fails as entertainment. But in the end, its value lies in its existence. We are lucky to have it.
IMDb —
1924
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