BlacKkKlansman (2018, Spike Lee)
Spike Lee is not a subtle filmmaker. Sometimes this can be an issue. Take the scene in the otherwise excellent Do The Right Thing (1989), for example, in which various characters shout racist epithets to camera. It reminds me of GCSE drama productions.
But, generally – who cares? His great theme is the ongoing problem of racism in America and, unless you’re a complete expletive, there’s not a lot of ambiguity there.
Lee’s latest, BlacKkKlansman, is the best I’ve seen from him since his absurdly underrated masterpiece 25th Hour (2002).
The pitch: 70s Colorado. Black cop Ron Stallworth (John David Washington – Denzel’s son) manages to infiltrate the local branch of the KKK via telephone calls. His white colleague Flip Zimmerman (the ubiquitous Adam Driver) then plays him for face-to-face meetings. Based on a true story.
It’s an inherently compelling setup, both because of how unlikely it is and because there is something undeniably fascinating about the KKK and their practices: espousing a disgusting ideology whilst wearing fancy dress – the sinister meets the absurd. (This was nicely satirized by Tarantino in Django Unchained (2013).)
How are the visuals? Lee’s films have always had a great look to them and here he chooses to shoot on 35mm. It gives the images a nice grain and is appropriate to the 70s; he’s not just using film because it gives him a stiffy, like Tarantino or Nolan.
Lee also continues to make bold stylistic choices, and in doing so, shows it’s a natural expression of his personality and distinctive filmmaking grammar. It is not simply something he did when he was young because he was desperate to show off his skills.
Example: the opening scene of BlacKkKlansman is a clip from an entirely different film, Gone With the Wind. It’s an Old Hollywood classic that looks more problematic with each year that passes. The clip is a technically brilliant long-take crane shot travelling across a pile of bodies in the aftermath of a Civil War battle. The camera finally comes to rest on the confederate flag, blowing proudly in the wind. It shows what used to pass unapologetically for mainstream entertainment. And as for Spike Lee choosing to begin a narrative feature film with a clip from a different narrative feature film (which happens to be nearly 80 years old)? Well, I’ve personally never seen that done before. This is genuinely bold stuff.
Lee also employs colour filters, Dutch angles, direct address to camera, and the use of documentary footage to close the film – this rhymes with Lee’s use of the Rodney King video to open Malcolm X (1992).
BlacKkKlansman is Spike Lee’s most well-received film in years, outside documentaries, and it’s heartening to see. If you’re in the mood to be morally outraged, it ticks that box and then some. It’s also properly entertaining.