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Tag Archives: Spike Lee

Spike Lee’s BLACKkKLANSMAN

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Spike Lee’s galvanizing new comedy/drama BlacKkKlansman will be released in theaters this Friday, August 10, one year to the day after the notorious “Unite the Right” rally in Charlottesville, Viriginia became the site of violent clashes including a car attack that left one counter-protester dead. The release date is no coincidence: although the film is set in 1970s Colorado Springs, Colorado, one of its implicit aims is to use the incredible true story of a black undercover police officer’s successful infiltration of the Ku Klux Klan in order to examine America’s current cultural climate. The title cop, Ron Stallworth (played by newcomer John David Washington, Denzel’s son, in a charismatic, understated performance), communicated with the Klan via telephone then, taking a page from the Cyrano de Bergerac playbook, sent a white officer (Adam Driver, also wonderful) in his stead for face-to-face meetings. Bridging this era with the present is David Duke (Topher Grace), the KKK’s Grand Wizard who updated and sanitized the image of white nationalism, arguably paving the way for the racist hate-mongering that has characterized Donald Trump’s presidency. In telling this remarkable tale, Spike Lee has made his most vital narrative feature in decades and is deservedly receiving his widest theatrical distribution since Inside Man in 2006.

In spite of the seriousness of the subject matter, however, BlacKkKlansman is frequently hilarious as satire (especially the scenes involving Stallworth’s phone conversations with Duke). While Lee’s previous work has frequently been both sloppy and didactic, he’s able to pull off crazy tonal shifts here that are both complex and masterful – most notably in a startling coda using contemporary documentary footage that will undoubtedly be much talked about. BlacKkKlansman is also surprisingly taut as a genre piece; it’s a buddy cop film that nods to classic blaxploitation films from the era in which it’s set. The way it uses genre tropes to comment on social issues has caused some critics to compare it to Jordan Peele’s Get Out and Boots Riley’s Sorry to Bother You (which accomplished similar things with the horror and sci-fi genres, respectively). But the provocative way Lee superimposes the present onto the past ultimately put me in the mind of John Ford’s Young Mr. Lincoln more than any other movie: just as Ford’s myth-making about a canny young lawyer from Springfield, Illinois achieves a sublime poignancy because of the viewer’s knowledge of who Abe Lincoln will become in the future, so too does Lee achieve an ironic and tragic grandeur because of the viewer’s knowledge of what will happen to the whole damn United States of America after Stallworth’s assignment has ended. To paraphrase something Woodrow Wilson reportedly said about D.W. Griffith’s The Birth of a Nation (itself a major reference point in BlacKkKlansman), Lee’s essential new film is history written with lightning.

To find theaters screening the film, ticket info and showtimes, visit BlacKkKlansman’s official website.

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An African-American Cinema Primer

In honor of Martin Luther King Day, today’s post is an African-American cinema primer. This list is not meant to be exhaustive (for one thing, I’m limiting myself to one film per director) but here are 10 essential movies made by African-American filmmakers that I think have valuable things to say about black life in America. I hope this will serve as a useful starting point for anyone interested in exploring African-American cinema.

Within Our Gates (Micheaux, 1920)

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The only films made by African Americans prior to Gordon Parks helming The Learning Tree for Warner Brothers in 1969 — much to the shame of the major Hollywood studios — were independently financed. The most important black filmmaker in the first half of the 20th century was Oscar Micheaux, who directed over 40 films in a career spanning 30 years in both the silent and sound eras. The incendiary drama Within Our Gates was Micheaux’s second film and is the earliest surviving feature directed by an African American. Sylvia Landry Evelyn Preer) is a young Chicago woman who endeavors to raise money to save a school for black children in the rural south. Much like The Birth of a Nation, Micheaux’s story alternates between scenes taking place in the north and south, and also cuts back and forth between action occurring in separate time frames in order to generate a suspenseful climax — a lengthy flashback to the events that led to Sylvia’s adoptive parents being lynched by an angry white mob. This lynching scene is intercut with an equally horrifying scene where a villainous middle-aged white man attempts to rape the young Sylvia before recognizing a scar on her chest that identifies her as his own illegitimate daughter. The complex and clever intercutting of this climax intentionally unpacks the racist ideology of Griffith’s film by showing the historical reality of who really did the lynching. Within Our Gates was thought to be a lost movie until a single print was discovered in Spain (under the title La Negra) in the late 1970s. Restored by The Library of Congress in 1993, it is now available on DVD via Grapevine Video.

Sweet Sweetback’s Baadasssss Song (Van Peebles, 1971)

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“. . . Sire, these lines are not a homage to brutality that the artist has invented, but a hymn from the mouth of reality . . .” So reads a fitting quote at the beginning of Melvin Van Peebles’ groundbreaking third film, one that he financed independently (which included a $50,000 assist from Bill Cosby) when Columbia Pictures balked at the proposed storyline. Van Peebles himself stars as “Sweetback,” an L.A.-based gigolo who beats up some racist cops for harassing a Black Panther and then flees to Mexico with help from members of the black community (who are collectively credited as “starring” in the movie in the opening credits). This film bears roughly the same relation to 1970s blaxploitation cinema that John Carpenter’s Halloween bears to 1980s slasher flicks: it almost singlehandedly kickstarted a dubious subgenre after becoming a surprise commercial phenomenon (although none of the movies that followed in its wake arguably matched it for subversive political content). And while its still debatable as to whether the copious, unsimulated sex scenes are necessary (Van Peebles contracted gonorrhea while shooting one scene and was able to get “worker’s comp” from the DGA for being “hurt on the job” — money that he promptly sunk back into the budget), it’s important to remember that cinematic depictions of black American males prior to this had always been meek and asexual. A fascinating relic of its era that still feels revolutionary today.

Cooley High (Schultz, 1975)

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This terrific high school movie — made in Chicago in 1975 but taking place in 1964 — is often referred to as the “black American Graffiti.” It’s so good that I wish American Graffiti were referred to as the “white Cooley High.” Like George Lucas’ beloved period piece, this low budget indie looks back nostalgically and humorously on a more innocent time by focusing on a group of teenagers at the end of a school year — and features an equally amazing soundtrack (nearly all Motown) to boot. Best friends Preach (Glynn Turman) and Cochise (Lawrence Hilton-Jacobs) cut class, crash a party, chase women, shoot craps, inadvertently get mixed up with the law after unknowingly going for a joyride in a stolen Cadillac, etc. All the while, their friendship is tested by their divergent career paths: the literary Preach, a character modeled on screenwriter Eric Monte (who grew up in Chicago’s Cabrini-Green housing project), dreams of becoming a successful writer, an ambition that Cochise doesn’t understand. This was directed by Michael Schultz, a former theater director who does wonders with a cast of mostly unknowns. It also features arguably the greatest use of Chicago locations of any picture shot in my fair city.

Killer of Sheep (Burnett, 1979)

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The directorial debut of UCLA film school grad Charles Burnett (it was his Master’s thesis), Killer of Sheep is one of the greatest American films of the 1970s. This plotless examination of the lives of a handful of residents of South Central Los Angeles served as a conscious rebuttal to the negative stereotypes of African Americans then prevalent in the American cinema. Effortlessly alternating between comedy and tragedy, as well as realistic and poetic modes, Burnett’s episodic narrative focuses primarily on Stan (Henry Gayle Sanders), a slaughterhouse worker who struggles to provide for his wife and children. Though this impresses because of its insider’s view of life in a working class black neighborhood in the mid-1970s, the scenes of children goofing off, throwing rocks at one another, and playing in railroad yards never fail to bring tears to my eyes because of how much they remind me of my own childhood growing up in Charlotte, North Carolina in the 1980s (where we played in abandoned houses and often engaged in “dirt clod” wars). The awesome soundtrack provides a virtual audio tour through 20th century black American music, from Paul Robeson to Louis Armstrong to Little Walter to Earth, Wind and Fire.

The Killing Floor (Duke, 1984)

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Bill Duke is best known for his work as a character actor (with scene-stealing cameos and supporting roles in everything from Predator to Menace II Society) but he’s also carved out a distinguished if regrettably little-known parallel career as a film director. This invisibility is in part because, like Charles Burnett, his filmography spans the disparate worlds of Hollywood, independent and made-for-television movies; even many of the people who admire this auteur’s work are unaware that what they are fans of are actually “Bill Duke films.” My favorite of his movies are the 1992 neo-noir Deep Cover and the 1984 T.V. film The Killing Floor, which tells the true story of the migration of one black man, Frank Custer (Damien Leake), from the rural south to Chicago in the early 20th century. Upon arrival in the Second City he becomes involved in labor struggles involving a controversial and newly formed union, and eventually witnesses the notorious race riots of 1919. This is a terrific history lesson, a compelling drama and a lovingly recreated period piece all rolled into one. Duke identified it as one of his own favorite movies when I interviewed him in 2013.

Do the Right Thing (Lee, 1989)

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Spike Lee’s long and prolific career has been maddeningly uneven but he is also, in the words of his idol Billy Wilder, a “good, lively filmmaker.” Lee’s best and liveliest film is probably his third feature, 1989’s Do the Right Thing, which shows racial tensions coming to a boil on the hottest day of the year in the Bedford-Stuyvesant neighborhood of Brooklyn. Lee himself stars as Mookie, a black deliveryman working for a white-owned pizzeria in a predominantly black community. A series of minor conflicts between members of the large ensemble cast (including Danny Aiello, Ossie Davis, Ruby Dee, Giancarlo Esposito and John Turturro) escalates into a full-blown race riot in the film’s unforgettable climax. While the movie is extremely political, it is also, fortunately, no didactic civics lesson: Lee is able to inspire debate about hot-button issues without providing any easy or reassuring answers. This admirable complexity is perhaps best exemplified by two seemingly incompatible closing-credits quotes — by Martin Luther King and Malcolm X — about the ineffectiveness and occasional necessity of violence, respectively. It is also much to Lee’s credit that, as provocative and disturbing as the film at times may be, it is also full of great humor and warmth, qualities perfectly brought out by the ebullient cast and the exuberant color cinematography of Ernest Dickerson.

Daughters of the Dust (Dash, 1991)

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Julie Dash is part of the “L.A. Rebellion” school of black filmmakers along with her fellow UCLA graduates Charles Burnett, Billy Woodberry and Larry Clark. But unlike her male counterparts, all of whom directed their first features in the late 1970s and early 1980s, Dash’s independent breakthrough feature wasn’t completed and released until 1991 (it was, in fact, the first feature-length movie directed by an African-American woman). It was also worth the wait: Daughters of the Dust is a uniquely poetic and moving film about members of the Gullah culture, former slaves and their descendants who live on the Sea Islands off of the coasts of South Carolina and Georgia. More specifically, Dash’s movie centers on one Gullah family, the Peazants, as they plan on leaving the islands behind and immigrating to the mainland for good at the turn of the 20th century. The film is primarily a non-narrative experience, one that Dash claims is based more on African folklore traditions rather than Western storytelling: characters in period costume frolic on the beach, their movements abstracted by slow-motion cinematography, images frequently accompanied by poetic voice-over narration about the importance of tradition and memory. Regrettably, this is also Dash’s last theatrical feature to date.

One False Move (Franklin, 1992)

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Three drug dealers/killers — two men and one woman — pull off a big score in L.A. and then head across the country to the small town of Star City, Arkansas. Two L.A. cops, aware of the trio’s plan, beat them to their destination and must work there with the local-yokel sheriff in order to apprehend the criminals. The always welcome, perennially underrated character actor Bill Paxton has arguably his best role as Sheriff Dale “Hurricane” Dixon, a man who seems overly eager to have the chance to crack an important case alongside of the big city cops. What starts off as a compelling neo-noir, however, gradually deepens into something much richer and more complex as layers are peeled back from each of the characters, some of whom prove to be connected in unexpected ways. The screenplay was co-written by Tom Epperson and a pre-Sling Blade Billy Bob Thornton (who also co-stars as one of the crooks). The taut direction is by Carl Franklin who, as a result of this, landed the plum assignment of helming the Denzel Washington-starring Devil in a Blue Dress. But I would argue that the independently made One False Move, which makes no false moves, remains the director’s finest hour.

Menace II Society (Hughes/Hughes, 1993)

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Menace II Society is by far the best of the early 90s “hood movies,” which essentially transposed classic Hollywood gangster film tropes to contemporary urban black neighborhoods. The auspicious directing debut of twin brothers Allen and Albert Hughes (and still their best movie to date) follows Caine (Tyrin Turner), a recent high school grad and hustler, and his charismatic but crazy sidekick O-Dog (Larenz Tate) as they navigate life on the mean streets of Watts over the course of one long and deadly summer. This is much more violent and less obviously moralistic than John Singleton’s Boyz n the Hood, the film that had kickstarted the genre two years earlier, and consequently generated much controversy upon its first release. Seen today, it’s much easier to view it as the intelligent cautionary tale and social critique that the filmmakers intended.

Eve’s Bayou (Lemmons, 1997)

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Kasi Lemmons wrote and directed this singular fever dream of a movie about a woman looking back on her childhood growing up on the Louisiana bayou in the late 1960s. It begins with the title character narrating as an offscreen adult how she “killed” her father the summer that she turned 10-years-old. Much like John Ford’s How Green Was My Valley, this is a great “memory film” that introduces viewers to the cast of a large, colorful family through the subjective reminiscences of its youngest member. Samuel L. Jackson, who also produced, gives one of his finest performances as Louis, a handsome doctor and the patriarch of the Batiste family. His extra-marital dalliances, which cause his family grief even as they put up with his roguish behavior, ultimately lead to tragedy. Among several interwoven story threads is one involving Louis’ sister and her practice of witchcraft, and another involving a disturbingly ambiguous treatment of incest. I’ve heard it said that female filmmakers are less concerned with narrative logic than their male counterparts, and more concerned with the poetry of emotions. Whether or not that’s true, Eve’s Bayou is an unusually poetic narrative in the best possible sense.


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