Incredible but true. In the early 1970s, Ron Stallworth, an African-American bodyguard from Colorado Springs (son of John David Washington, Denzel), infiltrated a local Gu Klux Clan cell with the help of a white comrade (Adam Driver, Mollson). The first fascinated targets on the phone, pretending to be the second and calling himself into the ranks of the organization. Stallworth described the adventure in his book “The Black Who Infiltrated the Gu Klux Clan” (Ed. Atriment); Spike Lee is very freely inspired in this film, where he attacks Alt-Wright with full force, but in a sober tone.
It started with a phone scam. Stallworth, who was hired into the police force to represent minorities, infiltrates a group of pro-Black Panther activists to solve their danger (he meets the beautiful Patrice). He gets bored, browses the newspaper’s classified ads, and sees an ad for KKK looking for new members, which does not seem to bother his superiors much. So he calls the game, plays. What could be more effective than putting outrageous racist comments in the mouth of someone whose goal is to reflect nonsense?
Spike Lee always had a heavy hand and he is very relaxed here
The whole picture runs on this dialectic of the effect of glass, the reversal of characters and values. Likewise, in a humorous style, à la denigrates Trump in the context of the TV series “Starsky at Hutch” and his slogans inspired by Trump’s hegemonic guru David Duke. White. He is responsible for qualifying the cool but caricatured image of African-Americans expressed by the cinema of the time through blacksploitation, while at the same time he does not hesitate to rediscover facts and use clich கிs to portray racists. Or degeneration. This question of Hollywood representation runs throughout the film, reversing the separatist propaganda of classics such as “Gone with the Wind” or “The Birth of a Nation”.
Ace! If he returns to the political fury of his beginnings, the director of “Jungle Fever” will no longer have the same niche. He always has a heavy hand, here he is too loose to raise his film to the heights of its demonstration. The referee of the Cannes Film Festival 2018 did not oppose him, which crowned him with a grand prize, won by his burning news: the film ends with real, muted films of Charlottesville, which makes both of them almost events. Hours ago. Not really laughing.
Sunday, February 28 at 8:40 pm in OCS City. American Crime Comedy by Spike Lee (2018). With John David Washington, Adam Driver, and Tofer Grace. 2:16. (Multicast and on demand).