Elgar Enders, who lives off an allowance from his wealthy parents, buys an inner-city tenement in Park Slope, Brooklyn, which is undergoing gentrification, planning to evict the occupants and construct a luxury home for himself. However, once he ventures into the tenement, he grows fond of the low-income black residents. Enders decides to remain the landlord and help fix the building. He rebels against his WASP upbringing and, to his parents' dismay, romances two black women.
The first is Lanie, a mixed-race dancer at a local black club. Lanie has light skin and features due to her having a mother of Irish descent and a father of African descent, and has experienced colorism. Their relationship is strained, as Elgar has an affair with one of his tenants, Fanny, and gets her pregnant. Her boyfriend, Copee, a black activist with an identity crisis, is enraged when he finds out about the pregnancy, and tries to kill Elgar with an axe but ultimately stops.
The Enders family is shaken by their son's behavior but reluctantly accepts him. Ultimately, Fanny gives the child up for adoption to start a new life. The story ends with Elgar taking custody of the child, mending his relationship with Lanie, and moving in with her.
Charlie Murphy, older brother of Eddie Murphy, lived in the neighborhood where the film was shot, and he appears in a brief scene as a boy stealing Elgar's hubcaps.
Reception
The film was a commercial disappointment. Arthur Krim of United Artists later did an assessment of the film as part of an evaluation of the company's inventory:
What was expected to be provocative material to the new modern film audience of 1968-1969 in depicting black and white relationships in an urban setting, emerged as a film which we felt would be of limited interest to the audience of 1970 - an audience more and more sated with films of this genre. This is still a type of film we intend to continue to make but at one-quarter the cost. Unfortunately, at the time this film was programmed, unrealistic optimism about the potential audience for this type of film prevailed.[2]
Critical reaction
The film garnered mostly positive reviews from critics. On Rotten Tomatoes, it has received a 92% overall approval from 12 critics.[3] Upon its release, New York Times film critic Howard Thompson, called the film "a wondrously wise, sad and hilarious comedy."[4] On September 19, 2007, journalist Mike Hale discussed the film in a New York Times article called "Before Gentrification Was Cool, It Was a Movie". Hale praised the film for tackling the racial tension that arose in the aftermath of the assassination of Martin Luther King Jr. and wrote in surprise how the film "would disappear after its 1970 release – rarely shown and just as rarely discussed."[4]
