Posterized: Spike Lee

by Nathaniel R

Currently in love with this image of Spike Lee and Topher Grace on the set of BlacKkKlansman. But let's get to the point. After a long hiatus, we're back with a new season of our Friday series "Posterized"... I know it's Sunday. Shush. What better way to kick off than with the films of Honorary Oscar Winner Spike Lee? His latest joint, BlacKkKlansman, which we've reviewed, is new in theaters. We hope you'll go as it will surely prove to be one of 2018's defining films. But for now on to his filmography as a whole.

People often disagree on what his best work is aside from Do The Right Thing (1989), his consensus masterpiece. That's probably because he's a natural risk taker so naturally his output is uneven.  For the purposes of this exercize we had to limit it to traditional features because Spike Lee has always done everything: short films, commercials, music videos, tv movies, miniseries, documentaries, segments within movies, filmed stage shows. The two most acclaimed pieces not included below are his Emmy-winning docuseries When the Levees Broke: A Requiem in Four Acts (2006) for HBO and his Oscar-nominated documentary4 Little Girls (1997). How many of his joints have you seen? All the posters are after the jump...

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Review: BlacKkKlansman

by Murtada Elfadl

There’s a loaded line that Spike Lee has to navigate with BlacKkKlansman. The line is between entertaining the audience while being faithful to the crazy but true story of Ron Stallworth and making a credible and incendiary link between the bigotry and systematic oppression that has always existed and our current wretched circumstances in this country. For the most part he is successful.

The stranger than fiction story from the 1970s is about a rookie cop Ron Stallworth (John David Washington) in Colorado Springs, who pretended  to be white on a lark and called the local chapter of the Ku Klux Klan. He was so believable as a racist white man on the phone, that he convinced his superiors to let him lead a broader investigation to infiltrate the Klan. He was helped by his Jewish partner Flip Zimmerman (Adam Driver) who “played” him when meeting with the Klan...

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Fight the Power!

I'm planning to channel Rosie Perez all weekend. You?

The 50 Greatest Films by Black Directors

Slate magazine has drawn up an interesting list of great black films, the twist being that they have to have been directed by a black person rather than about the black experience so out go Old Hollywood musicals like Carmen Jones or Cabin in the Sky or Oscar favorites like Sounder.  In the wake of recent conversations about Hollywood's power structures and overwhelming whiteness, Slate assembled a field of critics and filmmakers and scholars to produce the list.

Eve's Bayou

I need to get cracking on my gaps in knowledge from this list, especially because of the titles I've seen from this list several were great and the ones I didn't personally connect to were still interesting (Night Catches Us) or memorable (Eve's Bayou - I've been meaning to give that another shot now that I'm older). Unsurprisingly Spike Lee has the most titles with six. Curiously, though I've seen many Spike Lee joints (and tend to like them - I'd have included Chi-Raq on this list), I've only seen half of his titles that actually made it (gotta get to Mo' Better Blues, Crooklyn, and When the Levees Broke soon). The list is after the jump...

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Spike Lee's Overlooked and Exuberant "Crooklyn"

TFE is celebrating the three Honorary Oscar winners this week. Here's Kieran discussing one of Spike Lee's warmest and most underappreciated films.

For better or worse, you can often feel a larger thesis statement, be it about race and/or American culture at large, running through much of Spike Lee’s work. His films also feel incredibly male in their perspective. Even his few films that foreground women (She’s Gotta Have It and Girl 6) feel enveloped by the male gaze, despite their many other virtues. These are just a couple of reasons why Lee’s semi-autobiographical slice-of-life dramedy Crooklyn feels like a bit of a curio.

Crooklyn is set in the summer of 1973 in the Bedford-Stuyvesant neighborhood of Brooklyn, where Lee himself grew up. Nine-year-old Troy Carmichael (Zelda Harris) is the only girl in a brood that includes four rowdy brothers. Though often put-upon and teased, Troy is tough, clever, funny and every bit the daughter of her equally strong-willed mother, Carolyn (a radiant Alfre Woodard). More so than any other film Lee has directed, Crooklyn is wholly interested in the inner-life, motivations and perspective of its female characters. Even Woody (Delroy Lindo), the family patriarch and easily the most fleshed out male character in the joint still feels like an afterthought compared to how focused the narrative is on Troy and Carolyn. How Alfre Woodard's anchoring performance failed to garner any Oscar traction, especially when one looks at the outlet mall fire sale irregulars that were the Best Actress nominees of 1994 is confounding.

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