The Official Spike Lee "BlacKkKlansman’" Thread

[TheGodling]

The film ending with Heather Heyer was ridiculous.

lol, ya'll folks still don't know Spike works. Spike's secret strength in this movie is that he doesn't cater directly to the "blacks are victims" angle. I have seen a lot of people complaining that the white cop cn real life wasn't jewish, but that's a genius move because by having that in the movie you have a white character who is confronted with the same bigotry, it is a wake-up call to all them easy thinking Jews that if they continue to downplay or ignore the rise of alt-right, they will be next on their list.

It also opens up the avenue for Spike to talk about the fact that black people cannot "escape" from the fact they are black and must face these struggles head-on, whereas white people can always run away and hide any part of their heritage that faces discrimination, like Italians or Jews changing their names to sound more American. Spike also doesn't put this in their face like they deliberately hide their heritage (although some might), it's just something that comes easy and they don't have to deal with it.

And last but not least, the Heather Heyer ending. Another reminder by Spike to white people that the alt-right will see anyone who oposes them as their enemy and target them indiscriminately, so even being a white, blonde female will not protect you from the rise of hate. And there's nothing more sacred to a white American than a blonde woman.

I really feel that people talking about how Spike is "compromised" don't know how Spike actually works. He knew he wouldn't get money to make a movie about the crack epidemic, and knew nobody would see it, so he sold Jungle Fever as a romantic drama even though its hardest hitting dramatic moments (Sam Jackson confrontation, Halle Berry ending) directly involved the crack epidemic subplot and not the interracial love plot. BlacKKKlansman is the same. It uses a "based on a" true story gimmick (black man infiltrates the Klan) to really talk about the threat that the alt-right movement makes today and point out the movement is an evolution of klan principles. And it's not a message he directs at black people who already know what's up (while the style of the film is clearly for black folks), he directs it at the white people who are still ignorant to or underplay that the foundation of the alt-right movement is just the klan in a suit.

Spike has always known how to play the game. The one time he didn't play it (Bamboozled), he couldn't get funding and they tried to bury the flick. And with the grand prize at Cannes and Oscar buzz all-around, Spike has once again played the game to stand on the biggest platform.

 

[Mason quartermaine]

lol, ya'll folks still don't know Spike works. Spike's secret strength in this movie is that he doesn't cater directly to the "blacks are victims" angle. I have seen a lot of people complaining that the white cop cn real life wasn't jewish, but that's a genius move because by having that in the movie you have a white character who is confronted with the same bigotry, it is a wake-up call to all them easy thinking Jews that if they continue to downplay or ignore the rise of alt-right, they will be next on their list.

It also opens up the avenue for Spike to talk about the fact that black people cannot "escape" from the fact they are black and must face these struggles head-on, whereas white people can always run away and hide any part of their heritage that faces discrimination, like Italians or Jews changing their names to sound more American. Spike also doesn't put this in their face like they deliberately hide their heritage (although some might), it's just something that comes easy and they don't have to deal with it.

And last but not least, the Heather Heyer ending. Another reminder by Spike to white people that the alt-right will see anyone who oposes them as their enemy and target them indiscriminately, so even being a white, blonde female will not protect you from the rise of hate. And there's nothing more sacred to a white American than a blonde woman.

I really feel that people talking about how Spike is "compromised" don't know how Spike actually works. He knew he wouldn't get money to make a movie about the crack epidemic, and knew nobody would see it, so he sold Jungle Fever as a romantic drama even though its hardest hitting dramatic moments (Sam Jackson confrontation, Halle Berry ending) directly involved the crack epidemic subplot and not the interracial love plot. BlacKKKlansman is the same. It uses a "based on a" true story gimmick (black man infiltrates the Klan) to really talk about the threat that the alt-right movement makes today and point out the movement is an evolution of klan principles. And it's not a message he directs at black people who already know what's up (while the style of the film is clearly for black folks), he directs it at the white people who are still ignorant to or underplay that the foundation of the alt-right movement is just the klan in a suit.

Spike has always known how to play the game. The one time he didn't play it (Bamboozled), he couldn't get funding and they tried to bury the flick. And with the grand prize at Cannes and Oscar buzz all-around, Spike has once again played the game to stand on the biggest platform.

you explained it a lot better than those dudes on double toasted did however execution has got to count for something, jungle fever's juggling act wasnt the smoothest but to me blackkklansman just wasnt well executed. I dont know any white that watches the news and saw those ticki torches heard rhetoric like blood and soil and didnt clock on to to the similarities. But at the end of the day the alt-right is a fringe movement of white nationalists and fascists. By equating them to the KKK is somewhat promoting a team in relegation to the premier league and legitimising them especially the way he did it. Wouldnt surprise me if they watched the end of that movie and richard spencer looked at his crew like cole hauser did in higher learning and just

ps check out spencer's interview with roland martin, no way david duke would ever put himself in a situation to expose how clueless he is like spencer did. And if that is one of its leaders that tells you all you need to know..

 

[TheGodling]

you explained it a lot better than those dudes on double toasted did however execution has got to count for something, jungle fever's juggling act wasnt the smoothest but to me blackkklansman just wasnt well executed. I dont know any white that watches the news and saw those ticki torches heard rhetoric like blood and soil and didnt clock on to to the similarities. But at the end of the day the alt-right is a fringe movement of white nationalists and fascists. By equating them to the KKK is somewhat promoting a team in relegation to the premier league and legitimising them especially the way he did it. Wouldnt surprise me if they watched the end of that movie and richard spencer looked at his crew like cole hauser did in higher learning and just

ps check out spencer's interview with roland martin, no way david duke would ever put himself in a situation to expose how clueless he is like spencer did. And if that is one of its leaders that tells you all you need to know..

I will leave the discussion about execution on the side, but it clearly was Spike's intent.

I do think that people saw the similarities with the tiki torch bearing protesters, but much like Spike depicted Stallworth in the discussion with his chief, they downplay/underrate or simply cannot believe that politicized racism could become so accepted/mainstream.

Hell, most talk shows mocked that the protesters used tiki torches, treating the protest like the butt of jokes instead of truly talking about the severity. Nobody really wanted to acknowledge that the protest showed that open racism has become government-excused behavior.

 

[NormanConnors]

lol, ya'll folks still don't know Spike works. Spike's secret strength in this movie is that he doesn't cater directly to the "blacks are victims" angle. I have seen a lot of people complaining that the white cop cn real life wasn't jewish, but that's a genius move because by having that in the movie you have a white character who is confronted with the same bigotry, it is a wake-up call to all them easy thinking Jews that if they continue to downplay or ignore the rise of alt-right, they will be next on their list.

It also opens up the avenue for Spike to talk about the fact that black people cannot "escape" from the fact they are black and must face these struggles head-on, whereas white people can always run away and hide any part of their heritage that faces discrimination, like Italians or Jews changing their names to sound more American. Spike also doesn't put this in their face like they deliberately hide their heritage (although some might), it's just something that comes easy and they don't have to deal with it.

And last but not least, the Heather Heyer ending. Another reminder by Spike to white people that the alt-right will see anyone who oposes them as their enemy and target them indiscriminately, so even being a white, blonde female will not protect you from the rise of hate. And there's nothing more sacred to a white American than a blonde woman.

I really feel that people talking about how Spike is "compromised" don't know how Spike actually works. He knew he wouldn't get money to make a movie about the crack epidemic, and knew nobody would see it, so he sold Jungle Fever as a romantic drama even though its hardest hitting dramatic moments (Sam Jackson confrontation, Halle Berry ending) directly involved the crack epidemic subplot and not the interracial love plot. BlacKKKlansman is the same. It uses a "based on a" true story gimmick (black man infiltrates the Klan) to really talk about the threat that the alt-right movement makes today and point out the movement is an evolution of klan principles. And it's not a message he directs at black people who already know what's up (while the style of the film is clearly for black folks), he directs it at the white people who are still ignorant to or underplay that the foundation of the alt-right movement is just the klan in a suit.

Spike has always known how to play the game. The one time he didn't play it (Bamboozled), he couldn't get funding and they tried to bury the flick. And with the grand prize at Cannes and Oscar buzz all-around, Spike has once again played the game to stand on the biggest platform.

excellent post

 

[teacher]

lol, ya'll folks still don't know Spike works. Spike's secret strength in this movie is that he doesn't cater directly to the "blacks are victims" angle. I have seen a lot of people complaining that the white cop cn real life wasn't jewish, but that's a genius move because by having that in the movie you have a white character who is confronted with the same bigotry, it is a wake-up call to all them easy thinking Jews that if they continue to downplay or ignore the rise of alt-right, they will be next on their list.

It also opens up the avenue for Spike to talk about the fact that black people cannot "escape" from the fact they are black and must face these struggles head-on, whereas white people can always run away and hide any part of their heritage that faces discrimination, like Italians or Jews changing their names to sound more American. Spike also doesn't put this in their face like they deliberately hide their heritage (although some might), it's just something that comes easy and they don't have to deal with it.

And last but not least, the Heather Heyer ending. Another reminder by Spike to white people that the alt-right will see anyone who oposes them as their enemy and target them indiscriminately, so even being a white, blonde female will not protect you from the rise of hate. And there's nothing more sacred to a white American than a blonde woman.

I really feel that people talking about how Spike is "compromised" don't know how Spike actually works. He knew he wouldn't get money to make a movie about the crack epidemic, and knew nobody would see it, so he sold Jungle Fever as a romantic drama even though its hardest hitting dramatic moments (Sam Jackson confrontation, Halle Berry ending) directly involved the crack epidemic subplot and not the interracial love plot. BlacKKKlansman is the same. It uses a "based on a" true story gimmick (black man infiltrates the Klan) to really talk about the threat that the alt-right movement makes today and point out the movement is an evolution of klan principles. And it's not a message he directs at black people who already know what's up (while the style of the film is clearly for black folks), he directs it at the white people who are still ignorant to or underplay that the foundation of the alt-right movement is just the klan in a suit.

Spike has always known how to play the game. The one time he didn't play it (Bamboozled), he couldn't get funding and they tried to bury the flick. And with the grand prize at Cannes and Oscar buzz all-around, Spike has once again played the game to stand on the biggest platform.

Dapped but i couldn't rep...loved the movie black directors got another one, black panther and black kkklansmen. Denzel jr. Is going to be a problem.

 

[IsThatBrothaMouzone?]

Damn good movie.

Best part was the juxtaposition of "white power" vs. Black Power when Harry Belafonte was talking. Spike was smooth. Basically saying that Black Power is a worthy cause based on self improvement. white power is purely about hatred of others. Fighting an imaginary war.

 

[Sohh_lifted]

lol, ya'll folks still don't know Spike works. Spike's secret strength in this movie is that he doesn't cater directly to the "blacks are victims" angle. I have seen a lot of people complaining that the white cop cn real life wasn't jewish, but that's a genius move because by having that in the movie you have a white character who is confronted with the same bigotry, it is a wake-up call to all them easy thinking Jews that if they continue to downplay or ignore the rise of alt-right, they will be next on their list.

It also opens up the avenue for Spike to talk about the fact that black people cannot "escape" from the fact they are black and must face these struggles head-on, whereas white people can always run away and hide any part of their heritage that faces discrimination, like Italians or Jews changing their names to sound more American. Spike also doesn't put this in their face like they deliberately hide their heritage (although some might), it's just something that comes easy and they don't have to deal with it.

And last but not least, the Heather Heyer ending. Another reminder by Spike to white people that the alt-right will see anyone who oposes them as their enemy and target them indiscriminately, so even being a white, blonde female will not protect you from the rise of hate. And there's nothing more sacred to a white American than a blonde woman.

I really feel that people talking about how Spike is "compromised" don't know how Spike actually works. He knew he wouldn't get money to make a movie about the crack epidemic, and knew nobody would see it, so he sold Jungle Fever as a romantic drama even though its hardest hitting dramatic moments (Sam Jackson confrontation, Halle Berry ending) directly involved the crack epidemic subplot and not the interracial love plot. BlacKKKlansman is the same. It uses a "based on a" true story gimmick (black man infiltrates the Klan) to really talk about the threat that the alt-right movement makes today and point out the movement is an evolution of klan principles. And it's not a message he directs at black people who already know what's up (while the style of the film is clearly for black folks), he directs it at the white people who are still ignorant to or underplay that the foundation of the alt-right movement is just the klan in a suit.

Spike has always known how to play the game. The one time he didn't play it (Bamboozled), he couldn't get funding and they tried to bury the flick. And with the grand prize at Cannes and Oscar buzz all-around, Spike has once again played the game to stand on the biggest platform.

Thank you sir.

 

[QU Hectic]

Just seen it. Amazing movie, definitely top 3 this year for me. Mr Lee never dissapoints
That Too late to turn back dance sequence was worth the price of admission.

 

[the cool]

lol, ya'll folks still don't know Spike works. Spike's secret strength in this movie is that he doesn't cater directly to the "blacks are victims" angle. I have seen a lot of people complaining that the white cop cn real life wasn't jewish, but that's a genius move because by having that in the movie you have a white character who is confronted with the same bigotry, it is a wake-up call to all them easy thinking Jews that if they continue to downplay or ignore the rise of alt-right, they will be next on their list.

It also opens up the avenue for Spike to talk about the fact that black people cannot "escape" from the fact they are black and must face these struggles head-on, whereas white people can always run away and hide any part of their heritage that faces discrimination, like Italians or Jews changing their names to sound more American. Spike also doesn't put this in their face like they deliberately hide their heritage (although some might), it's just something that comes easy and they don't have to deal with it.

And last but not least, the Heather Heyer ending. Another reminder by Spike to white people that the alt-right will see anyone who oposes them as their enemy and target them indiscriminately, so even being a white, blonde female will not protect you from the rise of hate. And there's nothing more sacred to a white American than a blonde woman.

I really feel that people talking about how Spike is "compromised" don't know how Spike actually works. He knew he wouldn't get money to make a movie about the crack epidemic, and knew nobody would see it, so he sold Jungle Fever as a romantic drama even though its hardest hitting dramatic moments (Sam Jackson confrontation, Halle Berry ending) directly involved the crack epidemic subplot and not the interracial love plot. BlacKKKlansman is the same. It uses a "based on a" true story gimmick (black man infiltrates the Klan) to really talk about the threat that the alt-right movement makes today and point out the movement is an evolution of klan principles. And it's not a message he directs at black people who already know what's up (while the style of the film is clearly for black folks), he directs it at the white people who are still ignorant to or underplay that the foundation of the alt-right movement is just the klan in a suit.

Spike has always known how to play the game. The one time he didn't play it (Bamboozled), he couldn't get funding and they tried to bury the flick. And with the grand prize at Cannes and Oscar buzz all-around, Spike has once again played the game to stand on the biggest platform.

Top 5 Movies you see. So far this year

 

[mbewane]

The film ending with Heather Heyer was ridiculous.

Just saw it (late as hell, only came out like a month ago in France) and felt the same way

lol, ya'll folks still don't know Spike works. Spike's secret strength in this movie is that he doesn't cater directly to the "blacks are victims" angle. I have seen a lot of people complaining that the white cop cn real life wasn't jewish, but that's a genius move because by having that in the movie you have a white character who is confronted with the same bigotry, it is a wake-up call to all them easy thinking Jews that if they continue to downplay or ignore the rise of alt-right, they will be next on their list.

It also opens up the avenue for Spike to talk about the fact that black people cannot "escape" from the fact they are black and must face these struggles head-on, whereas white people can always run away and hide any part of their heritage that faces discrimination, like Italians or Jews changing their names to sound more American. Spike also doesn't put this in their face like they deliberately hide their heritage (although some might), it's just something that comes easy and they don't have to deal with it.

And last but not least, the Heather Heyer ending. Another reminder by Spike to white people that the alt-right will see anyone who oposes them as their enemy and target them indiscriminately, so even being a white, blonde female will not protect you from the rise of hate. And there's nothing more sacred to a white American than a blonde woman.

I really feel that people talking about how Spike is "compromised" don't know how Spike actually works. He knew he wouldn't get money to make a movie about the crack epidemic, and knew nobody would see it, so he sold Jungle Fever as a romantic drama even though its hardest hitting dramatic moments (Sam Jackson confrontation, Halle Berry ending) directly involved the crack epidemic subplot and not the interracial love plot. BlacKKKlansman is the same. It uses a "based on a" true story gimmick (black man infiltrates the Klan) to really talk about the threat that the alt-right movement makes today and point out the movement is an evolution of klan principles. And it's not a message he directs at black people who already know what's up (while the style of the film is clearly for black folks), he directs it at the white people who are still ignorant to or underplay that the foundation of the alt-right movement is just the klan in a suit.

Spike has always known how to play the game. The one time he didn't play it (Bamboozled), he couldn't get funding and they tried to bury the flick. And with the grand prize at Cannes and Oscar buzz all-around, Spike has once again played the game to stand on the biggest platform.

Interesting point of view, thanks I hadn't thought about that. Still kind of feel that it somewhat puts a premium on white death as opposed to black death, like he could've put various photos of racist killings these past years, including her but also including all the black people who got killed over the past years. Had me feeling some kind of way that a movie against the KKK and racism ends with a white victim as climax. But I hear what you're saying and to reach a broader audience I guess it works.

 

[Knowledge]

I just watched it today. It wasn't a bad movie but it wasn't that great to me either. I couldn't help but think...so why they still need this nikka on the phone for when you got a whole nother dude who is infiltrated and talking to these cacs in person.

Best part of the movie was mini Dr Dre's speech

 

[BXKingPin82]

Adam Driver and Young Denzel got some good ass chemistry together.
when all them honkkkeys was watching that Birth of a Nation shyt i was

 

[Devil Plisken…CMS]

This movie sucked

Denzel Jr is cardboard

Super formulaic

Get Em Next Time...Inside Man remains Spike’s last great movie

 

[Mr Hate Coffee]

Movie was alright to me. Spike Lee’s storytelling and directorial style is becoming pretty dated in my opinion. He lacks nuance, his scene transitions are crappy at times, and he lets some scenes go on too long.

I haven’t read the thread yet but I look forward to seeing what you guys thought

 

[GoldenGlove]

The dualities of Felix's wife blowing up her husband and what happened in Virginia tho


White on White Crime

And I'm sorry, but the black dude speaking at the end from the Virginia footage had me and my wife dying laughing. We couldn't even hold it in brehs

"I had to jump out of the way or I almost got hit by the car my fukking self"


"This is my town... We did not want them muthafukkas here"


Movie was cool, the ending felt rushed a bit, and it had a storybook ending damn near before they cut to that Nazi footage at the end.