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MY CINEMATIC ROMANCE #17 – SPIKE LEE

MY CINEMATIC ROMANCE #17 – SPIKE LEE

Shelton Jackson “Spike” Lee has been a prolific actor, director, producer and polemicist for some time now. An ultra talented and outspoken cinematic artist, he has directed thirty fiction and documentary films since his debut feature film She’s Gotta Have It (1986). Plus, all manner of promos, commercials, music videos, short films and television series.

To celebrate his work and the fact he finally got recognised for his amazing filmmaking skills by the Oscars this year, I would like to highlight, five of his finest films that are worth watching and rewatching. An energetic firebrand of a director he has made films in many genres and is a risk-taker in subject, theme and style. Whether you agree with what he has to say he is a filmmaker who is always creating situations and characters who must be heard. Here are some great examples of his cinematic work.

**MAY CONTAIN SPOILERS**

DO THE RIGHT THING (1986)

Spike Lee’s incendiary look at the day in the life of a Brooklyn neighbourhood finds a variety of characters coping with both rising temperatures and simmering racial tension. Lee’s brilliant script is fully of boldly written and brightly sketched characters presented via a succession of hilarious and dramatic vignettes. The formal excellence on show too from Lee is to be applauded as he uses devices from: music video and cinema to tell his rich stories. The day does not end well as the neighbourhood erupts into tragic violence with Lee proving himself adept at balancing humour, politics and tragedy in equal measure.

MALCOLM X (1992)

Arguably, Malcolm X (1992), is Spike Lee’s most significant and impressive film. It charts the life and death of a man born Malcolm Little who would grow to be anything but. After a troubled childhood he became a drug dealer and criminal in order to survive. Having converted to Islam he rejected his slave roots, going on to become one of the most outspoken voices against black oppression the world has ever seen. The project took decades to come to the screen and Lee and Washington both faced objections from many parties for their involvement. However, the finished film a masterful biography capturing the spirit of an intelligent, passionate and outspoken individual trying to right the wrongs within American society and history. Both Lee and Washington should have won Oscars for their work. The film stands ultimately as a fine cinematic tribute to a true spokesperson for a generation.

HE GOT GAME (1998)

From my basic research Spike Lee is revealed to be a New York Knicks fan. It’s no surprise then his love of basketball really shines through in this mix of sport, crime and personal drama. The story follows young hot-shot basketball prospect, Jesus Shuttlesworth, and the decision he has to make in regard to which college he goes to. On paper it’s Jesus’ choice but in reality he has all manner of people attempting to influence him. These include: his girlfriend, his coach, agents, local gangsters and most pressing of all, his jailed father portrayed by Denzel Washington. Ray Allen is excellent as Jesus and Lee invokes an empathetic character study with lashings of verve and style.

INSIDE MAN (2006)

Spike Lee directs in confident style, with Denzel Washington and Clive Owen both excellent as the lead cop and main criminal. Jodie Foster is brilliant too as a venal fixer brought in by Christopher Plummer’s bank owner. What makes Lee’s direction ping here is his deft handling of a complex structure within the heist genre. Moreover, Lee demonstrates he is able to convey a genre story with impeccable skill and deliver fine screen performances to boot. I especially loved the diversity of the supporting characters and the film oozes a pure New York atmosphere throughout.

BLACKKKLANSMAN (2018)

BlacKKKlansman (2018) is a complex film which expertly mixes many genres, infusing musical, thriller, Blaxploitation, comedy and documentary styles, making it a joy to experience. Spike Lee has never been afraid of experimenting and sometimes his films have not worked because of it. However, with this he succeeded in making one of the best films of 2018. It should have won Best Film Oscar in my view. It is thought-provoking but 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.

MY CINEMATIC ROMANCE #16 – JODIE FOSTER

MY CINEMATIC ROMANCE #16 – JODIE FOSTER

Having recently caught the underwhelming B-movie crime movie, Hotel Artemis (2018), on Sky Movies, I was suddenly reminded what a brilliant actor Jodie Foster is. She has been around for years so it’s easy to take for granted what a consummate performer and on-screen creator she is. Indeed, her sterling work held Hotel Artemis‘ weak narrative together; as she gave a nuanced and clever portrayal of a morally ambiguous medical professional.

Foster is an actor, director and producer who has received two Academy Awards, three BAFTAs, two Golden Globes and countless other nominations recognizing her screen skills and brilliance. She is one of those rare actors, like Ethan Hawke, who has transcended child stardom and become a prolific performer in adulthood too. Here are, in keeping with the rules of this feature, FIVE stand-out Jodie Foster roles that I can highly recommend you watch.

**MAY CONTAIN SPOILERS**

TAXI DRIVER (1976)

Already boasting acting heavyweights such as Harvey Keitel and Robert De Niro, this existential classic finds Foster as a teenage prostitute, Iris. It was a very risky role for all concerned, especially as Foster was only twelve at the time. However, it is one of the greatest child performances of all time, with Foster bringing vulnerability, toughness, smarts and pathos to girl lost on the mean streets of New York seeking salvation.

THE ACCUSED (1988)

Foster’s incredible performance as Sarah Tobias deservedly won her a first Academy Award. Tobias’ character is the victim of a brutal gang-rape and the film sets about to highlight the savagery of men and the injustices of the legal system. I have not seen this film in years but I will never forget Foster’s steely and emotional acting tour-de-force, plus the physical and mental bravery she committed to the stunning portrayal.

SILENCE OF THE LAMBS (1991)

If I didn’t include her role of Clarice Starling then I would need my head examined. Obviously, NOT by Dr Hannibal Lecter, I must add. Indeed, while Anthony Hopkins gets much kudos for his startling turn as no one’s favourite chef, it’s Foster’s sterling work which glues the film together. All in all it’s almost a perfect genre film which owes much to Thomas Harris’ fine characterisations of Lecter and Starling and Jonathan Demme’s excellent direction. Nonetheless, Foster brings the tough, determined, yet vulnerable, FBI rookie to life brilliantly; and her scenes with Hopkins spark, scare and thrill especially.

CONTACT (1997)

I wasn’t a massive fan of this film when it was first released. That was because I was expecting something more action-based akin to Robert Zemeckis’ previous body of work. However, Contact, on subsequent views is an emotionally rich and intelligent look at religion, science and contact with extra-terrestrials. Foster is Dr Ellie Arroway, a scientist who utilises radio signals to chart potential alien signals in space. In a role which doesn’t exclusively find her life in danger, Foster is able to show her range as an intelligent, heartfelt and sensitive character. As such Dr Arroway is, amidst the vast expanse of space and time, ultimately searching for that all-encompassing and universal desire: love.

INSIDE MAN (2006)

I love this heist film because it has so many brilliant aspects; notably one of the cleverest twists in recent movie history. Spike Lee directs in confident style, with Denzel Washington and Clive Owen excellent as the lead cop and main criminal, respectively. Jodie Foster steals her scenes as a feisty and venal fixer brought in by Christopher Plummer’s bank owner, to handle a more “delicate” element of the robbery. I liked that Foster chose a less heroic character to portray, as she struts and sells her services to the highest bidder. Ultimately, her Madeleine White is anything but white; instead she’s a black-hearted vulture, dealing with the greedy capitalists and politicians of first-world Manhattan.