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The Racialicious Review of If God Is Willing and Da Creek Don’t Rise, Part 1

By Arturo R. García

The best, most brutal thing about Spike Lee’s If God Is Willing and Da Creek Don’t Rise is how it flows, showing us not just how the various residents and systems in New Orleans are connected, but how the breakdown of help for it and the state of Louisiana in the wake of both Hurricane Katrina and the BP oil spill has infected the community on a variety of levels.

To do this, Lee brings back many of the residents viewers met in his last foray to the Crescent City, When The Levees Broke; Phyllis Montana-Leblanc (who also appears in Treme) opens the film with the eponymous poem seen above. From there, Lee veers into what might have been used as a “happy ending” for another film: a look at the local celebration of the New Orlean Saints’ Super Bowl win. From there, the bloom off the rose starts falling, and the reality of the situation is brought home by local activist M. Endesha Jukali: “After the Superbowl on that Sunday,” he tells us. “I was gonna have to get up and figure out how I was gonna eat the next morning, how I was gonna pay my bills, how I was gonna be able to survive. I’m not a who dat. I’m a who is that?”

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