Spike Lee is an interesting guy. Like him or loath him (and I like him), you've got to admit that there's nobody quite like him. Even when his films are bad, they're never boring. There's always something to talk about, and they always start a discussion of some kind (even if that discussion is about how unnecessary an Oldboy remake is). The thing is, there aren't many filmmakers that are this daring, and this brash. So you'd think that with over 30 years in the industry under his belt, Spike Lee would lose his touch
Fat. Chance.
Blackkklansman is one of Spike Lee's best. Ever. I know that I'm supposed to deliver an ultimate verdict on the film at the end, but a film this good and this important cannot be missed. This film is excellent. It's the exact kind of thing we need right now. I generally don't like to get political here, because let's face it, that's not why you're here. That said, regardless of your stance, you have to admit that we're living in politically turbulent times. I'll try not to be too political here, but I will say this. In times like these, a film like this seriously requires the right person for the job. And though Spike Lee's approach has been troublesome in the past, I can't think of anyone who would have been better for this project. His unsubtle ferocity is perfect for something this topical.
For those unaware, the film follows the (true) story of Ron Stallworth, a black police officer going undercover in the KKK. Yep. This actually happened. And although it's a period piece, the plot feels incredibly timely. There's serious relevance to the story, and even from the opening moments, you know that you're watching something truly unique. The plot itself lends itself to not just razor sharp satire, but also some really poignant moments of drama, too. There's some serious heft to some of the scenes in this film, and Spike Lee's brazenness lends them the weight they need. It's definitive proof that Lee hasn't lost his mojo. Even 30 odd years after his debut, Spike Lee still has this incredible power to provoke and shock. What's truly impressive though is how he applies the story to a modern context. Lee never pretends to have all of the answers. He knows that the political landscape is too turbulent to even try. So instead, he does what he's always done. He asks the tough questions, in a way that's honest and direct. That hasn't always worked for him in the past (see Bamboozled), but here, it's perfect. He's not preaching, he's starting a discussion that needs to be had. The result is thought provoking, and truly mesmerising.
And the cast is pretty great too. John David Washington has this really earnest charm to him that makes him incredibly easy to root for. He's a protagonist that you immediately get behind. Adam Diver turns in some of his best work as Stallworth's partner Flip, while Laura Harrier's activist goes way beyond just being a love interest (although the romantic subplot does add some emotional depth to the whole thing), and actually deepens the conflict by offering a different, yet still valid, perspective. But it's Topher Grace who absolutely wows as David Duke, the Grand Wizard of the KKK. He's absolutely unbelievable in this role. He's never a pantomime villain, instead being this real world evil that's all the more sickening because of the reality of it all. He's never over the top, and ends up being so convincing and chilling. He's one of the absolute highlights of the film, fuelling so much of the conflict, and using footage of the real David Duke at the end is another deft application of the film's message to the present day.
But it isn't without it's issues either. Because this is Spike Lee, it should go without saying that the film completely lacks subtlety. As I said before, I do think that this was the right approach, but the film loses some breathing room as a result. The story was done with tact, and the directness of the film works to it's advantage, but when everything in the film is loud enough to be coming out of Radio Raheem's boombox, it can get a little exhausting. The film also has some structural issues, especially with the pacing. It kind of alternates between fast and slow plot progression, and I think it does lose some of its storytelling power as a result.
But these problems really don't matter in a film this explosive and this important. The actual content is pure cinematic dynamite, stronger than anything Spike Lee has put out in some time. But Lee saves the strongest punch for last, using real footage of Charlottesville to make his primary point: America is in trouble. Again, he doesn't claim to have the answers. But that's not what he's doing in Blackkklansman. He isn't providing solutions, he's using his art to start conversations, and hoping that those conversations can lead to somewhere progressive. And I hope they do. Blackkklansman is truly stunning cinema. Put simply, it's one of the most gloriously incendiary films you're likely to see this year. Go see this movie.
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