Funky period setting and on-trend political commentary makes a cheap grab for Oscars.
Based on true events and the 2014 memoir, Black Klansman, Spike Lee’s recent project follows Colorado Springs Police undercover officers Ron Stallworth (John David Washington) and Flip Zimmerman (Adam Driver) in their infiltration of the local KKK chapter. While Lee’s intentions are clear BlacKkKlansman is little more than a blunt patchwork of all Oscar favourite features with a helping of tired buddy-cop tropes.
Evaluated solely as a film, BlacKkKlansman is entirely average. The 70s setting lends a nice style to the characters and the backdrop. Bell-bottom trousers, extensively groomed facial hair and gravity-defying Afros give the early scenes an undeniably retro cool. The cast effortlessly litter lines with 70s slang, lending a sense of immersion to the setting. Perhaps a trick has been missed in not producing a more ambient soundtrack in keeping with the theme.
BlacKkKlansman, while certainly cool, lacks substantially in narrative substance. Adam Driver in particular, proven already as a remarkable actor, is betrayed by a dull script, appearing flat and forgettable. While the real life story is interesting and uniquely comical, pushing out a film adaptation may have been a touch ambitious.
The film progresses into essentially two separate narratives: Driver as an uncomfortable KKK initiate and Washington trying to navigate around a student’s web of idealism and into her pants. The latter is simply a needless romantic addition, and the former feels lacking reward or purpose, given the eventual climax of the film.
BlacKkKlansman gives us a feeling of disappointment in having characters show no development, depth of character or, in a Raiders of the Lost Ark throwback, ultimate influence on the overall plot. The story comes to revolve around a fictional bombing attempt that feels bolted on and forced. The climactic scene is simply a bizarre communication failure, that shows as much effort went in to writing the script as the film’s title.
However watching BlacKkKlansman, you cannot escape the feeling that it’s trying to to do more than just be a good film. Cut with clips from contemporary political disputes and the resurgence of far-right politics, Lee has attempted to secure the Oscar by pairing a true story with attempted biting social commentary. Effort seems to have been spread too thin and BlacKkKlansman fails as a political statement as well as a narrative.
While it’s widely accepted that the USA has a number of institutional issues surrounding oppression, BlacKkKlansman does a poor job of addressing this. There are a couple of compelling scenes, notably comments briefly made on how common racism is often masked with other stances for presentation to the public.
Worse than just neglecting institutional issues surrounding race, BlacKkKlansman opts for a more happy go lucky approach. The primary antagonist is the classic hillbilly with less brains than gene-pool variety. David Duke, the presentable face and leader of the KKK, is, true to facts, featured but only as a foolish white guy who our brave protagonist routinely outwits. He is presented as no real threat when he’s gone on to be a leading figure of the far-right and arguably enables the growth of more violent groups.
Yet worse, the police force, an institution with a leading history of race issues, has its discrimination confined to a single officer. An officer who is ousted because he’s tricked into saying a few non-PC words. It feels a touch optimistic from a country in which police face no repercussions for murdering unarmed black men almost four decades later. After his expulsion everyone is seen getting along swimmingly: people of all backgrounds cooperating and drinking kale lattes with a copy of the Private Eye.
While basing a film around the KKK requires some acknowledgement of racism, BlacKkKlansman makes no real attempt to confront any social problems and brushes widespread oppressive structures under the rug. It covers just enough to make producers feel like they’re doing their bit for justice, while not addressing anything too difficult. The inclusion of modern footage at the end feels like a cheap attempt to grasp relevance and possibly an Oscar.
If you’re looking for style tips, give the first quarter hour a go, if not, just leave Blackklansman to fade into obscurity.
By Kai Forder