BLACKkKLANSMAN – Review

The idea that identity can be hidden under the guise of a mask is an ironic joke that Spike Lee takes full advantage of as a private investigator talks on the phone to the KKK leader, David Duke (Topher Grace). Unbeknownst to Duke, he is talking to a black man. The thin line of this scenario between awkward and humorous is fully explored by Spike Lee, known for provoking, but in this case, mostly excelling at dark comedy. But the comedy is one that teeters from producing a smirk to strong uncomfortable feelings. That is where the provocateur comes into play. Spike Lee understands the material and has proven his knowledge of timing and visual cues through a career of highly contested films that have raised questions about black identity in the history of cinema. However, while the majority of his previous films were embraced by the arthouse theater crowds, with the help of producer Jordan Peele (GET OUT), he has now directed his message toward mainstream audiences in the guise of an undercover buddy-comedy.

Truth is stranger than fiction, and in the case of BLACKkKLANSMAN, the idea of the KKK corresponding with a black undercover investigator over the phone sounds both preposterous and a convenient setup for Spike Lee’s fiery social commentary. But it’s true. Most of it, at least. After a tumultuous time working his way up in the white ranks of the Colorado Springs Police Department in the early 1970s, Ron Stallworth (John David Washington) is hired to infiltrate a former Black Panther’s lecture at a college event. Following the lecture, a local newspaper advertisement looking for new recruits to join the KKK incites Ron to call. A series of back and forth phone calls begins a relationship that his newly assigned partner, Flip (Adam Driver), is thrown into to serve as the “face” of Ron Stallworth as the real Ron continues communication over the phone.

Washington follows in his father’s footsteps as a confident leader of an amazing cast. Moreso than commanding the screen, he serves as a vessel for the story, carefully leading the way without rocking the boat or making waves as a performer. Besides a black man being forced to coerce with the KKK, you have a Jewish man being forced to as well, played by Adam Driver. What makes this interesting is that Driver’s character doesn’t really identify as Jewish. In a handful of scenes, Ron forces Flip to come to terms with his bloodline, opening his eyes and urging him to be upset about what’s going on. While the script (credited to Lee, three others, and the memoir’s writer) and Driver’s performance downplays this aspect of the story to focus on Ron’s journey of a budding police officer’s shift towards a proud man serving as a protector of the people, Flip’s quiet and haunting journey is carefully played with nuance and restraint by Driver.

Spike Lee takes his time to maintain a steady and roaring fire that burns throughout the film. He shines a questioning light at the police, the media, and the public at large, just to name a few. In one scene, the film draws a comparison pointing out how the family unit within the KKK is similar to that of the police officers protecting one another, as Ron states that the actions of the police force “reminds me of another organization.” Earlier on, he cleverly points out after a speech to black students about empowerment and not being afraid of your black identity how the media and the people in power can pull quotes from a speech to make the situation sound more violent and threatening than it is. Throughout the film, the audience has to accept a harsh storm of anti-semitic and racist language that is never easy to digest. The dialogue always seems like it’s testing the audience’s acceptance of hate-filled speech.

Of course, Spike Lee is known for highlighting aspects of our world that are often not shown in entertainment, but he also shows he can slowly ratchet tension in little moments. One of the highlights of the film is a scene that takes place in a claustrophobic basement and the threat of Flip taking a lie-detector test about his Jewish heritage. Later, he also shows a methodic escalation of anxiety in the finale where an innocent speech is intertwined with the threat to inflict violence on the very group congregating. It’s carefully edited and the emotional weight of what’s being orchestrated is amplified by the speech about a black man’s horrifying true story of his friend’s brutal public murder by a group of white people. All the while, Terence Blanchard delivers a classical jazz composition as the main theme that recalls Spike Lee’s earlier films while lending the film a classic detective-noir backdrop and a somber prose on society.

Unfortunately for Lee and satire entertainment as a whole, we’re past the point where comedians have to point out the absurd. When you have 24-hr news coverage and a President tweeting every hour, you don’t need someone to nudge you in the ribs to remind you to pay attention and to take notice of the similarities between the 1970s to our modern world. Ron, at one point, is called naïve because he says that our country would never elect someone that shares the same views as David Duke. It’s a scene that elicits nervous laughter from the audience and yet it’s an unnecessary and sad reminder of our current state. The writing is already on the wall throughout the film, you don’t need the obvious fingerpointing to remind audiences of the parallels. This isn’t to say that Spike Lee’s message isn’t vital to our country right now, but his approach might seem slightly dated.

During an early scene where a former Black Panther member addresses college students, individual faces appear out of the darkness. The cinematography spotlights the black faces beautifully. The moment not only highlights the appearance of this attentive crowd hanging on every word spoken with conviction, but it shows how words can have a positive effect on someone’s life. BLACKkKLANSMAN is a film about the power of language and how it can be used to fuel love or hate, but ultimately it’s the hateful speech that will linger with you long after the credits roll and how that speech is no longer disguised beneath a hood hidden from the public eye or ear.

Overall score: 4 out of 5

BlacKkKlansman opens in theaters everywhere August 10th