History Repeats Itself – BlacKkKlansman

For better or worse, summer is typically where films lacking in meaning and/or substance really get their moment in the sun. When the heat is scalding you into submission and all you want is a cold soda and some junk food to stuff into your face while you relax for a few hours in a dark, air-conditioned room…going to the movies is tough to beat. That’s not to say summer films don’t have their inherent charms, but The Meg didn’t just earn nearly $50-million domestically on its opening weekend because of its commentary on the human condition. I enjoy a good popcorn movie but, at the same time, I’m ultimately hopeful that those movies can get, at least a little bit, beneath the surface. While, the middle of this year has been filled with much more than its fair share of popcorn fodder…BlacKkKlansman is definitely not one of those movies.

I’ve never been a big Spike Lee fan. He’s made some movies I liked, other I didn’t, but his reputation precedes him for a reason. His position as one of the preeminent filmmakers in the industry has been thoroughly earned and his name carries due reverence…but let’s be honest, it’s been a while since he’s made a good movie. Inside Man was 12 years ago and even that wasn’t particularly special. Since then, it’s been an odd mix of shorts, documentaries and music videos…with a few less-than-memorable films mixed in, but the current socio-political climate has awoken many dormant voices. Many of Lee’s patented techniques as a director are on display, but it was his decision to book end the film with both the absurd and the terrifying which had heavy handed impact. While much of the advertising focuses on the humorous elements of his latest film, it’s much deeper and tonally heavier than the chummy buddy-detective flick that they’re selling.

The bizarre and incredible true story follows the early career of Ron Stallworth, a young, black detective for the Colorado Springs Police Department who goes undercover in the Ku Klux Klan. There is no hiding that this film is politically motivated, with many direct (and indirect) shots at the president and the history of white supremacy. Lee wrote the screenplay with Charlie Wachtel, David Rabinowitz and Kevin Willmott based on Stallworth’s book and they were wise to frame it as a dark political satire because injecting levity will ultimately get more people into the theater. It’s not exactly a bait and switch, the film is still funny, but the direct lines being drawn between this period piece and the current state of our nation are anything but comical. The dialogue was well put together and did most of the heavy lifting when it came to topical issues, including several powerful monologues, but there was no big secret here. The primary plot was given away in the trailer without any major twists or turns, but it felt like there was an awful lot of exposition. Unfortunately, things like that made the pacing a bit sluggish. At two hours and 15 minutes, the movie felt long. Lee and Film Editor Barry Alexander Brown could have easily gotten the whole thing under two-hours, especially since the audience is going into the experience with a pretty solid idea of the beginning and middle parts of the story.

With the main plot points pretty much squared away, it was up to John David Washington to shine in the lead role. Being the son of Denzel Washington is sure to have its benefits, but there will always be a giant shadow when stepping into the acting arena. John David had earned recognition for his part on the HBO series Ballers as a problematic NFL player and even had a small part in Lee’s Malcolm X, but following in dad’s footsteps to star in this type of film was a meteoric leap forward. He was a solid fit for the role…easy to cheer for, enjoyable enough to watch and has a sense of humor that parlayed well for this character. This movie is sure to make him a star, at least in the short term.

Despite swimming in that Kylo Ren money, Adam Driver has done a great job diversifying his acting portfolio while working with some of the biggest directors in the industry. Here he plays Flip Zimmerman, a fellow detective who gets the unenviable task of playing the white Ron Stallworth. He’s torn between some professional jealousy and reconciling his Jewish ancestry in the face of the KKK. Driver is a more skilled performer than I had initially thought before his turn in Star Wars and he got to display a lot of his range with a character like Flip. While the events in the story unfold around him, he is the one who is really undergoing the identity crisis. He was quite good in this role and I hope he continues to take projects such as this in the future.

Kim Coleman put together a good supporting cast, starting with Topher Grace as the Klan leader David Duke. For the most part, this portrayal wasn’t too far removed from his Eric Foreman on That ‘70s Show. Ultimately, that same kind of unassuming character representation is surprisingly humanizing for a person of Duke’s reputation. I don’t think the goal was to paint him in a sympathetic light, but more to illustrate how a seemingly pleasant person could have two completely different sides. It’s probably not a role that everyone was jumping at, but credit to Grace for stepping in and giving a strong performance. Corey Hawkins made a brief but powerful appearance as Kwame Ture (Stokely Carmichael) giving an impassioned speech. This was a really good fit for Hawkins and I’d like to see him get a chance at maybe playing the character again in a stand-alone biopic.

Even though I could feel it dragging, that didn’t prevent me from liking the movie…although a stellar soundtrack helped carry things along during the slowest of moments. When I look back on this film and think about its possible impact, I see a lot of potential. Stories from the Civil Rights era are always fascinating…often moving and passionate tales of perseverance in the face of terrible odds. Just from a narrative perspective alone, there’s incredibly rich storytelling that’s so distinctly human. Harry Belafonte tells an incredibly painful story, which exemplifies those qualities, as the films enters its climax…and in that moment, the film is at its most poignant. This film will resonate with the people it’s supposed to and will alienate all the people it’s supposed to as well. Judging by the $10-million opening weekend at the box office, the market for this movie is still lukewarm.

Recommendation: Spike Lee fans are sure to enjoy themselves, but those who absolutely don’t want to see it are the ones who need to watch it most. Good directing, good performances, not exceedingly foul or violent. It’s rated-R but this is really an adult PG13, so don’t shy away from taking the family to see it.