BLACKKKLANSMAN (2018) – CINEMA REVIEW
Directed by: Spike Lee
Produced by: Jason Blum, Spike Lee, Raymond Mansfield, Sean McKittrick, Jordan Peele, Shaun Redick, Jordan Peele
Written by: Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee
Based on: Black Klansman by Ron Stallworth
Starring: John David Washington, Adam Driver, Laura Harrier, Topher Grace
Music by: Terence Blanchard
Cinematography: Chayse Irvin
Let’s just say right off the bat that films like Black Klansman (2018) are the reason I still go to the cinema. Even from the trailer I’m like wow: a black police officer goes undercover and infiltrates the Ku Klux Klan!! That is a story I need to know about! How the hell did he do that? What follows then is the how, who, why and what-the-fuck-happened story of Ron Stallworth and how he managed to get between the “sheets”, as it were, of one of the nastiest clubs every to deface the fabric of society.
Racism or prejudice of any fashion is deplorable. There is no place for any oppression within a civilised society. Rising up out of the poisonous embers of defeated Confederate army members, in or around the 1860s, the Ku Klux Klan has sought to manifest hatred and bile since then. Murder, violence, vandalism, hangings and burning crosses became its’ nefarious stock and trade as it sought to make toxic the societal waters. In more recent decades, from the 1950s on, the Klan found a politicised voice seeking power through government. It is here that the story of the Black Klansman (2018) joins. It is 1979 and the civil rights movement continues seeking justice and equality for all. The Ku Klux Klan does not agree. They want purification. They are hatred.
Already a trailblazer as the first black detective in Colorado Springs, Ron Stallworth proves he is an intelligent and reliable undercover officer. Then having seen an advert in the local newspaper for the KKK’s desire to recruit new members, he, rather incredibly, calls to make an appointment. From then on his unbelievable scheme gathers pace and a team is assigned to infiltrate the Klan. These include Flip Zimmerman, a Jewish cop, portrayed with his usual laidback brilliance by Adam Driver; and it is Zimmerman who provides the physical version of Ron Stallworth to the Klan members. Indeed, Driver and John David Washington, as the real Stallworth, form a great double-act during the operation. While Zimmerman takes his life in his hands spying on the fascistic group, Stallworth himself builds relationships on the phone with the head of the Klan Charter, David Duke. Duke is the political arm and portrayed with efficient zeal by Topher Grace.
Black Klansman (2018) is a complex film which expertly mixes many genres and tones. The humour of Stallworth’s phone calls to the KKK members are hilariously delivered by the charismatic Washington; while the horrific language of the Klan and danger Zimmerman finds himself in levies this humour, creating a flux of emotions. Moreover, Spike Lee, a tremendously confident director, infuses musical, thriller, Blaxploitation and documentary genre styles within the film, making it a joy to experience. One could argue the romantic subplot doesn’t quite flourish amidst the main plots but Laura Harrier gives a fine performance nonetheless within a great ensemble cast. Plus, I must not forget the killer soundtrack which bleeds soul and verve into every shot.
Spike Lee has never been afraid of experimenting with cinematic style and with this film his alchemy perfectly combines form and content. Overall, this is one of the best films I have seen in 2018, both entertaining and thought-provoking; as the final reels of news footage demonstrate that fascism is still among us and as dangerous as ever. Yet, this film is never preachy for the sake of it and uses humour most often as a weapon to undermine the senseless ideologies of the KKK. Indeed, in ridicule there is hope they may eventually be side-lined to the shadows of history.