Blackkklansman Review

It's been awhile since director Spike Lee has done the right thing. His latest films--notably, or rather unnotably "Chi-Raq" and "Da Sweet Blood of Jesus"-- have lacked his textbook political vangaurd sensibilities and energized spark that brought his early work to the fore. So it was about time for Spike to spark a joint that would resonate instead of residue. His latest, "Blackkklansman", may not be like writing history with lightning, but it may just be the rebirth the director needed. 

 

Following one of the most daring undercover(sometimes under covers) missions this nation has ever seen. We dive headfirst into the life of Ron Stallworth(John David Washington). A black cop working for the Colorado Springs Police Department with hopes to infiltrate the KKK in the early 70's, at the risk of being a righteous pig turned to bacon. Ron's problem isn't necessarily that he is an African American. Its that he models his palatable characteristics on the overweening personalities seen in the eras black exploitation pictures, the same way Jean-Paul-Belmondo did Bogart in "Breathless". The term "rookie" doesn't mean you got to sit on the bench, at least the way Ron sees it. On his first day on the force, he struts through the halls with a brazenly hip outfit to match the hop in his step. Sporting a big grin, an even bigger afro, and an aura that trickles confidence. It doesn't take long for us to determine the character, and the man playing the character, were going to become a star. 

 

However, some of the overtly racist white cops don't take a liking to the new sheriff in town. Luckily our hero isn't just above racism, he is ahead of the race. Having quickly been promoted to undercover detective, he joins the always brilliant though usually monotone Adam Driver in attempts to infiltrate "The Organization"--a term they prefer over the Klan, since that former may stir up some bad connotations. With Driver(AKA Flip Zipperman) in charge of the physical meetings, and Ron working the phones in a white voice that rivals one heard in this years "Sorry to Bother You". Not after Ron calls the "organizations" hotline in attempts to join the cause. Hilariously declaring(in his white voice) to grand wizard David Duke his hatred towards Blacks, Jews, Mexicans, and Irish,while the other officers stare in utter disbelief. 

 

The whole film feels a little unbelievable.(Despite the title card claiming that these events are based on some "fo real, fo real sh*t). Lees films though always grounded in realism, tend to carry a surreal ambiance about them. Here, I believe it to be less Lees idiosyncratic edits and juxtapositions and more the bizarre nature of the story that levitates this satire above the confines of normalcy. At one point a redneck Klan member by the name of Felix(played expertly by Jasper Paakonen) becomes understandably suspicious of Flip, so he forces him down into his basement of racist memorabilia for a "Jew lie detector test". Other instances prove to be more explosive. As a race war seems be building between the whites and the blacks, and the only thing standing in the way is this lovable duo. However, at times it feels the divide between fact and fiction may have been lost in translation. 

 

Not that it matters, really, since Lee has made his most delightful and endearing film in decades. Eloquently controlled, this may not be as provocative as past work(this remarkably has a three act structure), but don't be fooled, this is as poignant and timely as anything he has released. The term timely gets thrown around a lot these days, and I am no exception. But this exceptional satire basks in today's smoke from a hot gun the way "Do The Right Thing" did the heat in the streets.

 

If I were to end the review here, I wouldn't be doing justice to the films indubitable wit. Everyone here seems to be playing lofty stereotypes. That's by design, of course. The KKK, humorously, occasionally humanly, play half-witted hillbillies playing dress up. Eating popcorn and cheering to the darker stuff seen in the second half of D.W. Griffiths "Birth of a Nation".(Lee has a thing or two to say here about Hollywood films as well, with a five minute clip from "Gone With The Wind" opening things up). He quite frankly doesn't give a damn what you think about his wildly racist policemen either. Also, the love interest Patrice(Laura Harrier), runs rings around her man as a black panther activist with a Fro the size of Wakanda. Yet in the end, these laughs turn to gulps. As the ironically patriotic score carries over to an end credits packed with sobering images of Charlottesville, the real David Duke, and why not, Donald Trump. Lee is sending a message alright, he is back, and making great films again. 

4.5/5