Spike Lee’s BlacKkKlansman is a tonal roller coaster, and therein lies much of its unique power. It’s alternately comic, heroic, tragic, horrifying, ridiculous, dead serious, clear-eyed and confused; it shifts into moments of documentary and even essay film, but it’s also one of Lee’s more entertaining and vibrantly constructed works. I don’t know that I’ve ever seen a movie exploit its tonal mismatches so voraciously and purposefully.
Based on a crazy true story (or, as an opening title puts it, “some fo’ real, fo’ real shit”), BlacKkKlansman follows the efforts of Ron Stallworth (John David Washington), an African-American detective in the Colorado Springs police force. He infiltrated the Ku Klux Klan in the mid-1970s, passing as white over the phone, with fellow cop Flip Zimmerman (Adam Driver) posing as Stallworth’s white avatar at actual Klan meetings. Lee seizes every opportunity in that startling setup to play with the notions of identity and belonging that have always fueled his work.
Before his Klan investigation, Ron’s first assignment is to go undercover at a Stokely Carmichael speech. (“They say he’s a damn good speaker, so we don’t want this Carmichael getting into the minds of the good Negroes of Colorado Springs,” his fellow officers tell him.) There, he meets and falls for local college activist leader Patrice (Laura Harrier), and even as he woos her, he tries and fails to stop her from using the word "pig" to describe cops. Ron remains loyal to the force, but he’s also moved by Patrice’s passion and righteousness. In some ways, the investigation of the Klan feels like Ron’s attempts to solve this tension between his dedication to police work and his growing activism. The enemy of my enemy of my friend: Ron wants to reconcile his two tribes by going after a common adversary.
This awakening awareness of identity goes beyond just Ron: Flip repeatedly gets asked by Klan members if he’s a Jew. He later confides to Ron that, while he is Jewish, he wasn’t raised with any real religion or sense of difference. “I never thought about it before,” he says, but now, thanks to these constant accusations and hatred, “I’m thinking about it all the time.” That’s just one of the great truths about today that the film casually tosses off with such seeming effortlessness. Lee is the rare director who can maintain the integrity and beauty of a film overstuffed with ideas. He prefers vigor over rigor; he’s an artist of chaos and energy, of blurred character lines and narrative curlicues. That’s not just because of the boundless vitality of his style, but because he understands that, on some level, all these seemingly disparate elements are connected.
Identity throughout BlacKkKlansman can be a disorienting, ever-shifting thing — acted upon by one’s allies as well as one’s enemies. The movie embraces this aesthetically as well. Lee adopts contrasting styles for each of the tribes that Ron moves through in the movie — the police, black activists and the Klan. The Klan are usually shown as a bunch of bozos, a dangerous but also often hilariously incompetent collection of ignorant brutes and slack-jawed yokels. Meanwhile, Patrice and her fellow activists are often presented in essayistic, almost agitprop fashion. During Carmichael’s speech, in which he talks about white standards of beauty and the racially disturbing aspects of Tarzan movies, the edges of the frame go dark and we see his listeners in soft spotlights, highlighting their features; when Patrice and Ron argue over depictions of heroism in blaxploitation movies, the screen fills with movie posters and clips. (Among other things, BlacKkKlansman stands as an urgent essay on cinema’s depictions of blackness and racism over the decades. As noted above, it’s all connected.)
Later, Lee intercuts between a speech by Harry Belafonte about the 1916 lynching of Jesse Washington in Waco, Texas, and one delivered by KKK Grand Wizard David Duke (Topher Grace, giving another of his insincere, aw-shucks nice-guy performances, which in this context is both chilling and surreal). “Give us true white men,” Duke declares, while Belafonte goes through every agonizing detail of the horrors visited upon Washington’s body. It’s a terrifying juxtaposition, and watching it, I got the sense that Lee had laid a kind of brilliant trap for us with his earlier, satirical depiction of the Klan: Laugh all you want, he seems to say; you laughed at Donald Trump, too, and look where that got us.
As you might expect, Trump and our current predicament hang heavily over this film, and the script (credited to Lee, David Rabinowitz, Charlie Wachtel and Kevin Willmott, based on Ron Stallworth’s own book) goes out of its way to make the connections. At one point, Duke declares, “It’s time for America to show its …” — briefly struggling to find the right word — “greatness again.” That’s one of the subtler references, and while most movies about the past botch this sort of call and response with the present, Lee generally achieves this with panache; he’s rarely self-important about it. He knows he’s making obvious points, and he embraces it with a combination of exuberance and despair.
And within this heavy-handedness can lie a kind of ambiguity. Without giving too much away, I must report that some of the film’s close-to-final scenes have an almost utopian, wish-fulfillment quality to them, with bits that are sure to get roaring audience responses. But Lee then quickly cuts to images of such raw, disturbing power that any momentary sense of triumph is sure to catch in our throats. The film is being released on the one-year anniversary of the white-supremacist violence at Charlottesville, Virginia. BlacKkKlansman resists closure, reconciliation or catharsis, and Lee has no interest in keeping this thing formally unified. What use is that kind of unity in a society that’s falling apart? Fo’ real, fo’ real shit, indeed.
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