#I also already know how black klansman ends cause I watched the movie

[duriens]

.

[reviews-by-high]

Review: Blackkklansman

Caution: Light Spoilers Ahead.

If no one's ever told you: there’s movies, and there’s movies when you’re high. Then let me tell you that the adage is 100% true, and in the case of my stoned experience with BlaKkKlansman (10 August 2018, dir Spike Lee), the film is powerful. Now I’m not going to spend a lot of time focusing on the racial politics at play with the movie because what this film does well is make its message clear. Any reader who has seen the film will know that amongst the dialogue this film is creating, one more internet-white-dudes words and opinions on the matter of racial politics aren’t needed. Not that the voices and opinions aren’t valued or don’t belong in conversation, but that another voice to the left leaning internet-white-dudes representation isn’t really any more useful than one less internet-white-dudes voice and opinion on racial politics in media at this point. Now with that said, it’s pretty difficult to review this movie ― even as subjectively as this review is ― without having some mention of racial politics. It also should be said that this review contains light spoilers. I’ll be covering some scenes, specifically the three speech scenes, as well as addressing other included media in the film and performances in the film. However, I’ll be doing it as best I can to an extent that is sufficient without giving away then entire scene. Even if you read this review before seeing the movie I would encourage you to still go see the film in theaters.

The first powerful scene happens right away when director Spike Lee opens with a very famous scene from the American Racial Melodrama Gone With the Wind. Gone With the Wind was a huge hit in America at the time of its distribution (17 January 1940, dir Victor Fleming), much of this is due to its over sentimentalization and romantic view of the American South. The scene that Lee inducts from the American Racial Melodrama ends with a massive scope of wounded confederate soldiers all laying in the dirt while a tattered Confederate flag flaps in the wind. If you’re a film major there is a fuck ton of meaning to be unpacked in that one scene of Gone With the Wind. However, what I got out of seeing that scene again ― only this time in the frame of BlacKkKlansman ― after about 32 milligrams of an edible, was the  Southern way of life for the God Bless’d White America is under attack and it needs protectors. And who better than the Ku Klux Klan to be the ghostly white knights that aggressively protect that racially oppressive way of life. What a great fucking message (sarcasm). Then switch to resident “soul brother” and protagonist Ron Stallworth played by John David Washington. The quick cut from an old American racial melodramatic blockbuster to BlacKkKlansman’s Ron Stallworth isn’t going to be the last time the film makes very effective use of juxtaposition. In fact Lee uses scenes from previous American blockbuster movies again later in the film when the KKK is having a cult ritual movie-night party. The boys in white are all seated in front of a projector screen eating popcorn watching yet again, another American Racial Melodrama Epic, Birth of a Nation (released 3 March 1915, dir. D. W. Griffith). Now, Birth of a Nation is a film that, if an individual at any point of watching that film thinks something along the lines of “hmm ya know what, this film is pretty good!” Then that individual should definitely rethink how he or she views other people, specifically people whose skin color and ancestral homeland differ from their own. Because Birth of a Nation is nothing shy from a Ku Klux Klan hero story wrapped up in, again, an old time American Racial Melodrama. This time however, while the film plays and we see the faces of Ku Klux Klan members in BlacKkKlansman watching the film, Lee also does periodic cuts to both Stallworth’s face having to watch the racist film from a window outside the cult room, and cuts to Jerome Turner, an African American speaker sharing his stories of tragedy and violent persecution, with the black college student union. For this reason, Lee’s use of juxtaposition is powerful because it contrasts the God-Bless-White-America KKK narrative ideas to the lives of black individuals and the persecution of the black community here in America at the hands of racially fueled violence.

The film’s power however doesn’t stop at complex juxtaposition, there are three speech scenes where the audience is greeted to powerful monologues from three different individuals: Kwame Ture played by Corey Hawkins, Dr. Kennebrew Beauregard played by Alec Baldwin, and Jerome Turner played by famed musician and Civil Rights Movement activist Harry Belafonte. I already previously mentioned how Turner talks to the black student union about the horrors he saw and experienced at the behest of racially motivated violence so I won’t discuss his speech scene more, though I do HIGHLY encourage you and everyone else to discuss Turner’s speech with their friends and other viewers of the film. Adversely, the speech scene featuring Alec Baldwin’s Dr. Kennebrew Beauregard was equally powerful, but not for its recount of racially fueled violence, or its inspiration to the black community, but because in what may be Alec Baldwin’s most convincing performance that I’ve ever seen, we get to see the very process of a man degrade down a scary spiral into racial hate and bitter bigotry. What’s so compelling about Baldwin’s performance is that even if you watched the movie on mute, by facial expression, posture, body language, and mannerisms alone the progression seen in Dr. Beauregard is not only extremely powerful but speaks for itself. The speech embodied a call for keeping America pure and white like the country should be — according to Dr. Beauregard — either by “sending them back,” or through violent alternatives. What struck me more was that in combination of the fear I felt sitting in my seat during this scene, was that the whole performance looked almost as if Alex Jones himself (controversial I know) had gotten up in front of the movie theater and did a two hour segment where he falls down a slippery slope into yelling some terrifyingly prejudice shit into a camera lens and ultimately ends on “God Bless (white) America.” I couldn’t tell you exactly why it is, but my high ass was legitimately feeling fear. Lastly, I want to commend Corey Hawkins for his performance as Kwame Ture. Hawkins who is no stranger to playing biopic roles, having previously done an exceptional job as Dr. Dre in Straight Outta Compton (14 August 2015, dir F. Gary Gray), absolutely fucking delivers on his speech as Ture. It’s a speech that everyone should see, black or otherwise, because to be completely honest it’s pretty damn inspiring. It left me feeling energized and good, and I’m not even black. Though all speech scenes tend to suffer from heavy-handedness at some point, Hawkin’s performance and the structure of the speech is absolutely gripping. So gripping that as early on as the speech was — within the first fourth of the movie I’d say — it sets the tone for just how viscerally powerful the movie is.

Lastly, the performances in the film were phenomenal. John David Washington takes the trope of a “soul brother,” and the trope of a determined black cop (think Denzel Washington in Inside Man 24 March 2016, Spike Lee) and masterfully blends them together. Not only that but he plays a character who is performing whiteness over the phone, a possible call back (no pun intended) to Sorry To Bother You (6 July 2018, dir Boots Riley) as well as an actual recount of the events that happened in real life Ron Stallworth’s book Black Klansman: A Memoir (16 January 2014 Police and Fire Publishing, Ron Stallworth). In another multilayered performance, Adam Driver as Flip Zimmerman absolutely nails it as well. I will preface by saying that from Girls (15 April 2012, created by Lena Dunham) and This Is Where I Leave You (19 September 2014, Shawn Levy), to now BlacKkKlansman and even his role as Kylo Ren in the Star Wars films, I’m a fan of Adam Driver. Adam Driver’s performance as a more experienced undercover Jewish (albeit non-practicing) cop faking as a Ku Klux Klan member while having to impersonate Ron Stallworth’s voice to the best of his abilities, is so well done I’m nothing shy of utterly impressed once again by the actor. As for the rest of the rest of the Klansman, Felix, Ivanhoe, and Walter Breachway, actors Jasper Pääkkönen, Paul Walter Houser, and Ryan Eggold absolutely convinced me they were bitter, angry men with nothing but utter contempt for black Americans and Jewish peoples. The kind of guys who would join and adopt the ideology of the KKK. These actors gave a scary realistic portrayal of their characters. However, with that said, I’ll admit that Topher Grace as David Duke left me thinking only one thing, “How the fuck did Eric Foreman get into the KKK?” Because let’s be honest... I don’t think Topher Grace will ever do a more iconic role. Yet having Foreman as the leader of the KKK does fit nicely with the idea of Ron Stallworth putting his foot up the Klan’s ass. On an ending note I also want to acknowledge Laura Harrier’s performance as black activist, student leader, and love interest Patrice. She plays a vital representative role as a powerful individual and courageous black woman in a leadership role providing a platform for the black demographic in the films Colorado Springs setting. (I would talk more about setting is a character in this film but this post is already pretty lengthy, just know that Colorado Springs is historically far right-wing conservative.) What’s more is the importance in the dialogue between Patrice — who fights for black activism and fair treatment through speech, platform, and protest — and Stallworth who is fighting for the same cause but from within the system. The conversation and dichotomy between these two in the film is an important discussion on different methods to similar means.

Now I know there are A LOT of things this review didn’t cover, however it wasn’t really my aim to comprehensively cover BlacKkKlansman. More so it was to provide maybe a different perspective of thoughts and experience watching the film from what other more rudimentary reviews might say. Most importantly though, what this review is above all, is nothing more than me getting stoned, watching a cool movie, and then writing some words about it.

With that said, the last bit I want to leave you all with is there are a lot of small easter eggs in the film. Obviously there is the footage from Gone With the Wind and Birth of a Nation, but also the soundtrack uses the same theme — Steve Switcharoo by composer Terence Blanchard — as another famous Spike Lee movie, Inside Man. There are many more in the film and I’m sure I didn’t catch all of them, after all I was pretty baked.

As far as ratings go, Rotten Tomatoes gives BlacKkKlansman a 96%, Metacritic a 76%, and IMDb rates the film at 7.8/10. For those not familiar with my rating system, I use a system akin to John Oliver’s arbitrary and absurdist rating system. Therefore, with all said and done, between having-your-campsite-raided-by-bears-while-you’re-not-looking, and sky-diving-into-a-ball-pit-the-size-of-Lake-Erie, I give BlacKkKlansman a having-pizza-on-Sunday.

PM

p.s. I now want more buddy-cop thriller with John David Washington and Adam Driver.