BK

 

It’s hard to believe that filmgoers and Oscar Watchers haven’t been talking about BLACKkKLANSMAN more in regards to its place in the cinematic year gone by. This is a film with a lot on its mind, a film that uses the past to underline the present, and a film from an artist who has been mercurial in his output for much of this century so far.

BLACKkKLANSMAN, for those of you who do not know, is a story told by Spike Lee about Ron Stallworth (John David Washington); a black police office in Colorado Springs who manages to infiltrate the Ku Klux Klan by phone.

In a perfect world, this film would win an award for Best Editing – though seems more likely to win for Best Adapted Screenplay. Many trophies beyond that though are a push, even with four more nominations to its name including Best Picture. We don’t live in that world, of course, so the film is likely going to have to be happy with two trophies at the night’s end – if even just the one.

That one would be befitting, since it’s likely to go to Spike himself.

2018 was an incredible year for cinema by directors of colour, even if you wouldn’t know it by the movies nominated. Beyond BLACKkKLANSMAN and BLACK PANTHER, there were stellar offerings with IF BEALE STREET COULD TALK, THE HATE U GIVE, BLINDSPOTTING, SORRY TO BOTHER YOU, INTO THE SPIDER-VERSE, and WIDOWS. Yet it’s only those first two that are up for Hollywood’s top honour. It’s not the greatest state of affairs, but if any artist is going to be this year’s challenger against #OscarsSoWhite, it’s fitting that it’s Spike.

Spike’s films this century haven’t always been the greatest. For every INSIDE MAN, he has an OLDBOY. For every CHI-RAQ, he has DA SWEET BLOOD OF JESUS. Spike largely answers only to himself, which doesn’t always make for the best creative endeavours. That said, the main is capital-P-Prolific…so if his latest film doesn’t get you, just wait a year: he’ll be right back. He’s like Prince in that way…but, like, if Prince was a Knicks fan.

This approach to creativity and consciousness deserves to be rewarded. And with the vanguard of black cinema already holding competitive Oscars (Bradley Jenkins and Steve McQueen, specifically)…it’s time to back-up and give a trailblazer his due.

However, as mentioned off the top of the piece “His due” should be more. Not just for turning in a film that contains the most potent mix of cinematic elements in 2018, but because of the way it uses the past to make a comment on the present. It forces America to look inward at the way it has and continues to tear itself apart, and the way one generation seems to have so. much. trouble. learning from the sins of its forefathers and foremothers.

This is a movie of its moment, and has only become more poignant as current events have played out…and yet we aren’t really talking about it. Pity. We should follow Spike’s most common declaration and all wake up.

Note: All of this said, I am truly looking forward to no longer forcing my fingers to type the grammatical Gong Show that is “BLACKkKLANSMAN” near as much now that Awards Season is over.