Archive for August, 2018
Year of Release: 2018 Directed by Spike Lee. Starring John David Washington, Adam Driver, Laura Harrier, Michael Buscemi, Ryan Eggold, and Topher Grace.
About a week ago on Fox News, Laura Ingraham went off on an unhinged rant lamenting that the country [white America] once knew and loved is being changed for the worse by the non-white demographics who come here illegally and legally, not dissimilar from Dr. Kennebrew Beauregard’s (Alec Baldwin) rant which opens this film. A year ago our president called neo-Nazis “very fine people,” while referring to peaceful black protestors as “sons of bitches.” Active members of the Nazi party are running for republican house seats in multiple states. Sadly, there are Americans who deny the obvious: racism is still a massive problem in America, and it has found a welcome home in the republican party which now controls our country.
Of course, this is not new. Perhaps the president spouting openly racist rhetoric with vigorous support from his base is, but Woodrow Wilson infamously hosted a screening of D. W. Griffith’s Birth of a Nation at the White House, and reportedly called it “history written with lightning” when the film was directly responsible for the return of the KKK and the rise of lynchings and baseless arrests of black people. (To be fair to Wilson, those words may have been falsely attributed to him by the book’s author.)
It was civil rights leader James Baldwin who said, “The story of the Negro in America is the story of America. It is not a pretty story.” Watching the James Baldwin documentary I Am Not Your Negro a few years ago, I first became aware of a reality of white dominated entertainment for non-white youth. Baldwin discussed being a black child and watching TV shows or movies in which the white hero with whom the audience is expected to identify must kill the black (or Indian) villains. In watching such shows, Black and American Indian children are therefore expected to root for their own destruction.
Spike Lee knows all of this, and his newest film BlacKkKlansman does as well. The first scene that drills this home is when rookie police officer Ron Stallworth (John David Washington), the first black man on the Colorado Springs force, goes undercover to infiltrate a speech by former Black Panther leader Kwame Ture (Corey Hawkins) to make sure there is no threat of blacks starting a race war against whites. As Ture delivers a passionate address to a floating sea of black faces, the truth of his call for black people to accept themselves as they are and not remake themselves to be like white people inspires not only the crowd of adoring college students but the undercover Stallworth as well.
At that rally Stallworth also meets a young black woman Patrice (Laura Harrier) who maintains the police (or pigs as she calls them) are part of an inherently racist, capitalist system designed to profit off the suppression of black people. As Stallworth and Patrice begin a relationship, Stallworth insists there are good cops who can work within the system to fix it. While the film respects the reasons behind her charges, it also clearly depicts all the good cops can do when they don’t abuse their power.
For his next undercover operation, Stallworth infiltrates the Ku Klux Klan, meeting the local chapter leader by phone, and later grand wizard David Duke (Topher Grace) as well. When they meet face to face, his white partner Flip Zimmerman (Adam Driver) plays Ron to infiltrate the KKK (or the organization as it members insist on calling it) and prevent attacks against black citizens, threats which are far more serious coming from the KKK than from a big talking member of the Black Panthers, especially when there are racist cops who will defend any white person and over a century of oppression against blacks.
If there’s any flaw in the film, as Alissa Wilkinson notes, it’s that it lets white viewers off too easily. While it is certainly true that any remotely progressive white viewers (read: those who oppose Trump) will not feel guilty even if they have unwittingly supported racism in the past, and the film certainly lacks the savage audience indictment of The Wolf of Wall Street, the hero of the film is Ron Stallworth, and not some fictitious white dude smashing down a “whites only” sign. To be sure, the other three members of Ron’s team are wonderful allies, but the film makes it clear how unfortunately rare such people are.
Last year’s Mudbound did not give white viewers an heroic character to identify with. The best white characters stood on the sidelines helplessly as the black characters suffered horrific injustices, the worst gleefully carried out those injustices, and the vast majority blindly perpetuated a system of abuse. That is probably a more realistic, if bleaker, portrayal of racism in America. Here, the majority of the white cops support Ron, but they also turn a knowing blind eye to the racist cop on the force, and the chief proudly states how he supports J. Edgar Hoover’s targeting of black citizens. Still they mostly manage to come around by the film’s end. It might verge on wish fulfillment, but there are stories of it happening, and it fits naturally into the comic arc of the film.
Yes, I said comic. To quote St. Thomas More, “The devil is a proud spirit who cannot endure to be mocked.” The film mocks the diabolical KKK ruthlessly, as illiterate morons who are baffled and terrified that their “superior genes” are being replaced by educated blacks and Jews. Watching Ron rant about his hatred for anyone who doesn’t have “pure white Aryan blood” in order to trap the local Klan leader is one of the best scenes of the year, as is Ron’s revelation of his real identity to David Duke. At the same time, the film never undermines the danger and threat of the KKK, heightening the tension and the laughs created by their idiocy.
Befitting a comedy, Spike Lee’s broad storytelling is about as far removed from subtle as humanly possible. If the scenes of the KKK chanting “America first!” or saying they want to make America great (read: white) again or a cop explaining to Ron that racists now cloak their racism in economics, immigration, and other policies so more Americans will go along with them, and one day David Duke will endorse his ideal candidate for president are not blatant enough, then the final scenes of footage from last year’s Charlottesville rally followed by the president’s damning “very fine people” remarks cement the parallels Lee wishes to draw between the KKK of the sixties and the current administration.
There’s an inherent power to images and stories. At the film’s climax Lee crosscuts between a Klan meeting and black student rally, contrasting the violent hatred of one with the peaceful nobility of the other. By opening with a clip from Gone with the Wind and later showing scenes from Birth of a Nation, Lee shows how the damning stereotypes from films shaped the way multiple generations thought about black people. He shows how those stereotypes have continued to today, but he also shows how progress has been made before, and since history repeats, how it can hopefully be made again.
Personal recommendation: A-
Content Advisory: Recurring racial epithets, depictions of racially inspired violence, disturbing descriptions of torture, occasional obscenities. MPAA rating: R
Suggested audience: Teens and up with discernment
Year of Release: 1979 Directed by Bob Fosse. Starring Roy Scheider, Jessica Lange, Ann Reinking, Erzsebet Foldi, Leland Palmer, and Deborah Geffner.
“And they’re dread wrong, I know they are/’Cuz I can play this here guitar/and I won’t quit ‘til I’m a star on Broadway.” I remember in an undergrad pop music class analyzing Barry Mann and Cynthia Weil’s song On Broadway, from which those lyrics are taken. The one thing I remember from that discussion was the professor pointing out the irony of immediately following that line with an unremarkable guitar solo, which is quickly swallowed up by the band.
Bob Fosse uses On Broadway for the opening number of his quasi-autobiographical masterpiece All That Jazz. Over the course of the song we watch director Joe Gideon (Roy Scheider in a career best performance) run a grueling day of auditions for his next musical as the mass of starstruck wannabes grows smaller and smaller. It could seem like a cynical song to open a cynical movie, but Fosse’s musical is every bit as much a love letter to the glamorous showbiz life as it is a critique.
On the one hand, All That Jazz is in many ways a seedier and more unflinching version of Fellini’s 8½ with elaborate song and dance numbers. Joe Gideon is a famous director who is facing a midlife crisis, struggling to finish a film that is well behind schedule and over budget, while simultaneously unable to make up his mind how he wants his next Broadway show to go. In the midst of these work conflicts, he recalls his formative experiences working in showbusiness and looks to the various women in his life for inspiration from the ingénue actress he cast in his latest show so he can sleep with her, to his current girlfriend, his ex-wife, his daughter, and his angelic muse.
If this set up sounds like a version of the “sexist man abuses everyone he knows and gets away with it, because he’s a great misunderstood artist” trope, it is because All That Jazz is a sort of confession for Fosse, who himself was a womanizer who abused drugs and alcohol, the same as Joe Gideon. However, Fosse is not interested in absolving Joe (or by extension himself). Indeed, he focuses more on the pain caused to the women by Joe’s selfishness, and the viewer’s sympathy is always with his resigned ex-wife Audrey (Leland Palmer), his heartbroken daughter Michelle (Erzsebet Foldi) who wishes her dad took better care of himself, or his current girlfriend Kate (Ann Reinking) who quietly accepts the other actresses he decides to sleep with.
In addition to Joe’s mistreatment of women, he also abuses drugs. There’s hardly a scene when he does not have a cigarette between his teeth. His carefully choreographed morning routine involves pills and eyedrops so he can get an inspirational high before putting his nose to the grindstone. However, the passion he throws into his abusive behaviors is an equally strong driving force for his work, which the film makes clear is a vocation for him.
On the most basic level, All That Jazz is a cautionary tale about wasting one’s talent and the dangers of throwing one’s life away on copious sex and drugs. At the same time, it is also more than the story of a super talented director and choreographer who dances and drugs himself to death. A sense of vocation permeates the film, from flashbacks of Joe’s childhood to interactions with his own daughter and Joe’s desire to leave the hospital as soon as he arrives there. All of these scenes show a burning drive to create that no amount of drugs or sex can replace or squelch.
Importantly, the creations are marvelous to behold. For my money, this is the best Fosse choreography ever captured on film. (No argument though with anyone who prefers his film of Cabaret.) A lovely scene of father-daughter bonding when Michelle stays late in the studio one night and dances with her dad shows how Joe has shared his talent and time with his daughter, the two gifts she wants more than anything else. Later she returns that gift with her dad’s girlfriend Kate in a two-woman performance choreographed to Peter Allen’s Everything Old is New Again. Erzsebet Foldi and Ann Reinking (Fosse’s own partner and collaborator for several years) are fabulous dancers, more than doing justice to Fosse’s dance routines.
Life imitates art imitates life. This is true both of the film and its creators and of the creations and characters within the film. The one scene we see edited over and over again from Joe’s upcoming movie is a monologue from a stand-up comic about going through the five stages of grief when one finds out they’re dying, which Joe himself starts enacting as his health begins to worsen. An elaborate striptease in a musical that is going to be a star vehicle for Joe’s ex-wife showcases the brilliant choreography and tremendous talent of Joe (and Fosse) while adding a sexual tension that is present in many aspects of his life. Finally, the way Fosse turns the final scenes into grand production numbers is the zenith of art and life blending.
As someone who works in the performance industry, it is rare to see anyone who lives life quite as recklessly as Joe Gideon. It is not uncommon to know people with substance abuse problems or a history of unhealthy relationships. However, even when an artist’s passions are misspent on destructive choices, that desire to create and partake in the divine creation is an unconquerable force. It’s a force Fosse understood, which is made clear throughout this entire film, especially in the fantasy sequences involving an angel (Jessica Lange) who forces Joe to reflect on his life even as she inspires him.
I suppose it is strange to find inspiration in a destructive tale of excess, but the celebration of beauty and art becomes a form of grace offered to even the most undeserving. While the film is cynical in critiquing the destruction an artist can choose to inflict upon himself and others, it simultaneously is a joyful celebration of the achievements the same artist can do if he applies his talents the way they were meant to be used.
Personal Recommendation: A+