2018’s BlacKKKlansman,
directed by Spike Lee.
Starring John David Washington, Laura Harrier, Robert John
Burke, Topher Grace, Adam Driver, Michael Buscemi, Ryan Eggold, Isiah Whitlock
Jr, and Alec Baldwin.
What is it about?
Set during 1972 in Colorado Springs, the first police
officer of colour for the municipality, Ron Stallworth (played by John David
Washington), attempts to infiltrate the KKK. He is able to penetrate the
organization on the phone, but for his physical presence needs help from his
white Jewish undercover partner, Flip Zimmerman (Adam Driver). Zimmerman
has success convincing Colorado chapter head Walter Beachway (Ryan Eggold) of
his identity so that he can meet the KKK grand wizard, David Duke (Topher
Grace), but fellow Klan member Felix Kendrickson (Jasper Pääkkönen) suspects his
brethren may not be as pure as advertised. Stallworth also meets student
union/Black Panther activist Patrice Dumas (Laura Harrier), and needs to keep
his occupation secret from her. Will Stallworth and Zimmerman be able to keep
their covers, and prevent a terrorist attack the KKK have planned?
Why is it worth seeing?
Director Spike Lee returns in his latest “joint”, which is (mostly)
based off of the unbelievable true story of Ron Stallworth, himself black, posing
as a member of the white supremacist group, the Klu Klux Klan, for months.
Making supercharged films about racial tension is nothing new for Lee, and he
couldn’t have picked a more appropriate time to bring light to the kind of hate
filled power that is exceeded in intensity only by its wielders’ stupidity.
With the importance of historical relevance established, Lee
(and co-writers Charlie Wachtel, David Rabinowitz. Kevin Willmott) embellish a
large part of the (sometimes comical) story, inserting both a literal bomb plot,
and a love interest in Harrier’s character. While the love story fizzles and
gives Harrier little to do other than to shake her fist in the air and require
saving, Lee brings a lot of panache to the movie’s final third, putting together
scenes of crisp tautness to keep things explosive.
While no expert on Lee’s filmography, I notice here that he
brings a sense of clumsiness in some of his editorial choices- such as tacky
grad photo-like depictions of the audience during a Panther rally, or JCVD kick styled multi cams of scenes
involving hugs.
Also disconcerting is the musical score by Terence Blanchard,
which feels handpicked from a cop potboiler from 20 years ago- oddly at ends
with the film presented here.
But what is not clumsy is the collection of actors
assembled. Relative newcomer John David Washington is confidently charismatic
as a black man running uphill in a white world (I guess talent runs in the family), and only Adam Driver, as the dude who has to pretend he’s
not as tolerant (or Jewish) as he looks, upstages him. His scenes of effortlessly
not losing his cool as various Klan members try to unravel his secrets showcase
why he’s one of the hottest actors working today. Also terrific is Topher Grace
(cast properly), as a man of great
power who is actually pretty chummy (as long as you’re not unfortunate enough
to choose the wrong race or religion).
Quibbles with the plot’s window dressing aside, Lee’s real
achievement here is bringing an essential true story to the screen, that brings
attention to the never ending racial tension grinding on in the United States
of America. After the events of Charlottetown (and others) in 2017 (and
onwards), it’s tempting to say that despite massive efforts to desegregate
America and criminalize hatred- racism continues to burn with a flame of
unbridled stubbornness. It’s tough to not criticize the film’s choices of
victory laps- not when the larger threat looms outside, setting fire to the
society we share.
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