This Friday Spike Lee’s BlacKkKlansman will arrive in cinemas and it’s going to be talked about right through Oscar season. Why? This film is Lee at his finest. In years to come, we will look at his work and BlacKkKlansman will be up there with his best.
As the issue of race continues to divide our country and nationalism rises around the world, Spike Lee hurdles us on a journey through the dread and perils of racism. The film is based on the remarkable true story of Ron Stallworth (portrayed by John David Washington – Yes, Denzel’s son), an African-American Colorado police officer who manages to infiltrate the Ku Klux Klan.
New to the force, Stallworth starts off in the evidence room and is immediately faced with racism within the force itself. He’s assigned an undercover task to infiltrate the local Black Student Union meeting where Kwame Ture is set to make an appearance. Ture better known as Stokley Carmichael leads a speech on black liberation, but Stallworth wants to see so much more than that.
Back at the bullpen, Stallworth sees a recruitment ad by the Ku Klux Klan. Cue Stallworth turning on his “white man” voice and successfully manages to arrange a meeting with the local KKK leader. There’s just one problem, Stallworth isn’t white. Enter Adam Driver’s Flip Zimmerman, a fellow police officer who Stallworth recruits to pose on his behalf. Zimmerman is Jewish! As the characters get deeper into their undercover operation, they also must adjust to their new identities, whether it’s the stinging scenes where Driver’s character is confronted during KKK meetings and asked if he is, in fact, Jewish; or Washington’s Stallworth being told “stop running away from being black.”
We are hit with a barrage of hate speech, but just as the film verges on becoming too dark, Lee switches to humor as relief, whether it’s banter between Zimmerman and Stallworth or else through the sheer ignorance that surrounds the Klansmen like noxious fumes, particularly with Felix (Jasper Pääkkönen), Walter (Ryan Eggold) and I,Tonya’s Paul Walter Hauser who plays Ivanhoe. There’s always that underlying edge-of-seat tension as to whether Stallworth’s cover will be blown, the heart-racing close-call moments. Curt Beech’s production design is precise and resonant, bringing Lee’s vision to life with authenticity.
Barry Alexander Brown’s work as an editor keeps the pace rolling. His work particularly stands out during an incredible moment when Harry Belafonte as Jerome Turner appears, recounting a horrific account of the lynching and burning of Jesse Washington. As Turner tells this story that lasts seven minutes, his tale is intercut with the KKK simultaneously preparing for a rally.
There are so many aspects that make BlacKkKlansman one of the best films of 2018 and one of the most important you will see all year. Lee excels in balancing the multiple tones of the films seamlessly transitioning from humor to drama to downright mortifying. The KKK scenes are ugly, but Lee draws that line from there through to Trump’s America today and it’s a mortifying echo of the country’s steep descent.
If Lee’s Do The Right Thing was Lee’s vision of New York when culture was alive with newfound freedom but racial tensions were high and was a reflection on America at that point in time, then BlackKklansman is a direct look at the KKK, its history and today in Trump’s America today. There is no other film that has dared explore the frightening parallels escalating in America today. When Topher Grace emerges with a chilling but superb portrayal of Grand Wizard David Duke to talk about how issues such as affirmative action and voting rights can be manipulated to extend white supremacy, it sends shivers down your spine.
The film ends with Trump’s “fine people on both sides” speech, footage of the Charlottesville rally, and the senseless death of Heather Heyer. The real David Duke makes a jolting appearance. Lee strikes hard in depicting a harsh reality that reverberates not just here, but around the world. Its urgency, its importance and its vitality make this film one of Lee’s finest. No other director could deliver a more truthful gut-punch than Spike Lee. He unleashes the power of his unique cinematic voice to give us an urgent and thought-provoking film. BlacKKklansman will stay with you and is destined to be talked about for years to come.
I thought this movie was excellent. Spike Lee’s vision and great performances really resonated with me. The ending was very painful and will stick with me for a long time. After leaving this film, I felt compelled to learn more about the major figures. There’s a very solid Salon article about Ron Stallworth.
blackkklansman is one of the best movies of 2018. its well made, well produced but its not my cup of tea. topher grace as david duke was stupid when he was young now hes grown up and has regrets.
i have mixed feelings about this movie getting Oscar buzz. John David Washington I could see getting an Oscar nod for best actor because his denzel washington’ son. and denzel has won 3 Oscars. the rest of the cast is meh. I still give it 3 out of 4 stars. I mean spike lee does outrageous filmwork that’s kind of downbeat and dark it’s good but this movie will get a best picture nod, directing, lead actor, adapted screenplay and film editing.
I do not think he would get in because he is Denzel’s son. I could see him being in the five based on merit alone. He did a very good job. Of course, it’s hard to tell because we haven’t seen the other major contenders, which almost certainly will include Bale/Gosling and perhaps Cooper/Carell/Defoe.
the guy that hates everything, guess that’s me…
will likely be seeing this monday. hmm…
I have this as the frontrunner for Picture and Director. The overdueness of Spike Lee, specially to be the first african-american winning Best Director, is beyond limits… and it rocked Cannes. I can see “If Beale Street could talk” stealing some spotlight, but Jenkins just – ultradeservingly – won Picture and Screenplay with Moonlight, so they’re not rewarding him again, in front of Lee (his honorary Oscar does not play as a factor against him, as it did not against Paul Newman when he won for “The Color of Money” after an honorary, the year before). The low IMDB rating… I don’t care… 81 in Metacritic, 98% RT, looks solid to me, after the Cannes success. And it should be a big f**k you to the racism and fascism of the White House… I think it’s the film to beat.
Yes. agreed.
I agree that this is the frontrunner for picture and director. I do not want to jinx it, though, because my favorite films NEVER win Best Picture. I was not a Spike Lee fan before but am now. (It’s not that I didn’t like him, only that I did not see many of his movies.)
I saw an interview with Spike and John David, and I swear….closed my eyes and John David WAS his father talking. Same voice. It was eerie and I wonder if that will impede his career. I thought about Kirk Douglas and Michael and I don’t think Michael talks like Kirk; do you?
I loved this movie so much! And I was lucky enough to attend a screening where Lee and john were in attendance and after the show they did a q and a. It was so amazing and when Lee was finished he dropped the mic and walked off the stage leaving his star sitting there. I was so overwhelmed to be in the same room with Lee! It’s my favorite film of the year so far!
Omg he sounds so much like his dad!!
Do any of the actors have a chance of being nominated? Driver perhaps?
Driver and Washington perhaps?
Thanks! I haven’t read your review yet. I always like to watch the movie first. Can’t wait!
look forward to your thoughts.
Jazz, what about Bellafonte for Supporting Actor? I know it’s only 7 minutes but it worked for Straight and Dench.
Never see spike lee movies but this one looks awesome and denZel washington son is in it.
Off-topic: another movie premiering this week in the States (most likely in limited release) is Josephine Decker’s Madeline’s Madeline. It’s a great movie, go see it
The trailer is really, really odd. I hope it doesn’t turn people away, but the reviews are stellar. Can’t wait to watch it.
The trailer isn’t great (they clearly tried to capture the feeling of energy and visual invention that’s in the movie but the technique feels a little bit stiff)but I’d argue the movie’s going to turn a lot of people away as well and the trailer is selling the movie exactly to the crowd who will really like it (cinephiles, people who want to see something bold and weird)
It’s interesting that you mention this because the trailer was what drew me to the film. I knew that it won Grand Prix at Cannes but did not realize that it was coming out in August until I saw the trailer before seeing Eighth Grade.
Screening BlacKkKlansman tomorrow night, but really excited for Madeline’s Madeline. Apparently it’s quite a unique experience.
I don’t remember the previous time a film has had a visual energy quite like this. Everything is bursting with confusion and joy on a level that feels fresh and honest as it goes inside its main character’s mind as the lines between performance and existing, expression and escape and inspiration and exploitation fade. And the closing sequence is among the most masterful scenes of the year.