Spike Lee uses D. W. Griffin’s incendiary Birth of a Nation in quasi-meta fashion in his masterful comeback film about racists getting their comeuppance, the wildly entertaining yet sobering BlacKkKlansman. If the former film was “history written by lightning,” then the latter might be “satire written by thunder.” But while Lee and his screenwriters are thunderous in their political leanings, the filmmakers are most effective in delivery of the message because of how taut, understated and meticulous they are in the weaving of their storytelling craft.
BlacKkKlansman is a procedural undercover cop jawn about Colorado Springs detective Ron Stallworth (John David Washington in a “star is born” type performance and a chip off the old block of his dad Denzel) who infiltrates the local chapter of the KKK (almost on a lark, in prank-phone call style) in the 1970’s. When the KKK agrees to meet him in person for the purpose of initiation, he convinces his sergeant to let him use his Jewish partner Flip Zimmerman (Adam Driver, shockingly good) to pose as the eager new racist recruit. Thus we end up with Jewish cop pretending to be a black cop pretending to be a white supremacist…and getting away with it…and stopping a terrorist bombing to boot. It would all be ludicrous if it wasn’t true (though apparently some of the details of the actual case are played with loosely here for the purpose of entertainment and message delivery). There’s a lot more going on in the film, and it’s tonally played to expert effect flipping between a satirical comedy of manners and a cop thriller about the worst kind of criminals.
“I’m the best one,” a coolly sinister replicant (Sylvia Hoeks) declares amidst haunting imagery of walking backwards into dark, surging water in Blade Runner 2049‘s chilling climax.
If one is to believe the declaration of a doctor (Carla Juri) who specializes in fabricating human memories for implantation into replicants earlier in the film… that there’s a little bit of the artist in each one…then one might draw the conclusion that replicant mentioned above is speaking for none other than director Denis Villeneuve. He’s operating on a well-known (and much copied) property in this “30 years later” update of Ridley Scott’s classic neo-noir sci-fi…but he’s very much put his own stamp on it. There’s also a bit of “killing your darlings” in his daring showmanship, symbolically murdering his forefather Scott along with his oft-compared contemporaries David Fincher and Christopher Nolan. Yes, Denis…you are the best one.
But there’s more subtext (and context) than just “the mark of the artist” in Blade Runner 2049…there’s also philosophical pondering on artificial intelligence, slavery, and what it means to be human. Meanwhile, on the surface, the film tick-tock’s through the motions of your traditional noir detective story. Continue reading →