Spike Lee has, from his earliest film, depicted whites as dumb, exploitative, manipulative, redneck, and uncivilized, among other negative traits.
In contrast, he portrays the black person as the victim, the enslaved soul of goodness trampled underfoot, and demeaned by whites. The only good souls among the latter come from the Jewish, a minority biblically known to include various races, including the Falasha, a black tribe hailing from Ethiopia. In other words, from Spike Lee's standpoint, the only good whites are those who are not completely white.
I am a white born in Mozambique, Africa, and am proud to have had, and to continue to have, blacks, Chinese, Asian Indians, and mulattoes among my friends.
While I find political correctness a destroyer of art, and welcome the fact that Spike Lee does not hesitate to blast it, I find BLACK K KLANSMAN a profoundly racist film. The highly intelligent black rookie quickly outsmarts all daft whites in the police force, launching an investigation into KKK with the very help of the white estabishment Lee so attacks.
Lee directed the excellent 25TH HOUR in 2002. In it he showed talent that he has sadly withheld from the public since. Which is a pity, because he could have been a director of the highest cut. Instead, he has elected to go on racist tirades of dubious moral authority.
Direction is heavy-handed and biased; acting is pedestrian; script is uneven and you have to suspend your desbelief to unbelievable lengths to believe the action (especially when the white woman is trying to plant a bomb in Laura Harrier's post box); and cinematography is mediocre, to put it mildly.
Best avoided, unless you are a diehard Spike Lee fan.
2/10. One star for the exquisitely beautiful Laura Harrier and the other for the superb recreation of Afro hair styles of the 1970s.
In contrast, he portrays the black person as the victim, the enslaved soul of goodness trampled underfoot, and demeaned by whites. The only good souls among the latter come from the Jewish, a minority biblically known to include various races, including the Falasha, a black tribe hailing from Ethiopia. In other words, from Spike Lee's standpoint, the only good whites are those who are not completely white.
I am a white born in Mozambique, Africa, and am proud to have had, and to continue to have, blacks, Chinese, Asian Indians, and mulattoes among my friends.
While I find political correctness a destroyer of art, and welcome the fact that Spike Lee does not hesitate to blast it, I find BLACK K KLANSMAN a profoundly racist film. The highly intelligent black rookie quickly outsmarts all daft whites in the police force, launching an investigation into KKK with the very help of the white estabishment Lee so attacks.
Lee directed the excellent 25TH HOUR in 2002. In it he showed talent that he has sadly withheld from the public since. Which is a pity, because he could have been a director of the highest cut. Instead, he has elected to go on racist tirades of dubious moral authority.
Direction is heavy-handed and biased; acting is pedestrian; script is uneven and you have to suspend your desbelief to unbelievable lengths to believe the action (especially when the white woman is trying to plant a bomb in Laura Harrier's post box); and cinematography is mediocre, to put it mildly.
Best avoided, unless you are a diehard Spike Lee fan.
2/10. One star for the exquisitely beautiful Laura Harrier and the other for the superb recreation of Afro hair styles of the 1970s.