Contrasting Perspectives

Spike Lee’s filmmaking is profoundly informed by his identity as an African American man, using cinema as a potent platform to amplify Black voices and expose societal injustices. His works, such as Do the Right Thing and Malcolm X, dissect themes of racism, class disparities, and the Black experience with an unflinching honesty, often delivered through a dynamic visual language that blends realism with poetic flourishes. He sees cinema not simply as entertainment but as a tool for social change, challenging audiences to confront uncomfortable truths. This commitment to social commentary is woven into the fabric of his narratives, shaping his characters, themes, and distinctive visual style.

Quentin Tarantino, conversely, adopts a more postmodern, genre-bending approach, drawing inspiration from a melting pot of cinematic influences, ranging from spaghetti westerns and blaxploitation films to kung fu movies. He views himself as a cinematic “hip-hop artist”, “sampling” and remixing elements from diverse genres to craft something wholly original. While Tarantino acknowledges the gravity of historical events like slavery, he believes that tackling them head-on, even if controversially, can facilitate healing and dialogue. His approach prioritises style and entertainment, weaving social commentary into the subtext rather than foregrounding it with the same directness as Lee.

The Genesis of a Feud

The roots of their discord can be traced back to the early stages of Tarantino’s career, with Lee expressing disapproval of Tarantino’s frequent use of the N-word in films like Reservoir Dogs, Pulp Fiction, and True Romance, the latter of which Tarantino wrote but did not direct. This artistic choice was a point of particular contention for Lee, who felt its usage was excessive and insensitive. Tarantino, however, defended his decision, arguing that it reflected the authentic language of the characters and environments he depicted.

Their clash intensified with the release of Tarantino’s Django Unchained, a spaghetti western set against the backdrop of slavery in the Antebellum South.6 While Tarantino intended to confront the brutality of American history through this genre lens, Lee dismissed it as trivialising and disrespectful to the historical trauma of slavery, stating, “slavery is not a spaghetti western.” Lee refused to see the film, highlighting the profound difference in their perspectives.

The tension surrounding Django Unchained was further amplified by a historical anecdote from the set of Crimson Tide, a film on which Tarantino did rewrites. Denzel Washington, who has collaborated with both Lee and Tarantino, reportedly stopped production to confront Tarantino over his use of the N-word. This incident, coupled with similar concerns raised by Samuel L. Jackson, who also worked on Django Unchained, illustrates the persistent unease surrounding Tarantino’s approach.

Beyond the N-Word

The heart of their conflict extends far beyond the use of a single word. It underscores a fundamental divergence in their filmmaking philosophies and their understanding of the relationship between art and social responsibility. Tarantino’s penchant for genre-bending and stylistic experimentation, often blending violence with dark humour, has led some to accuse him of exploiting sensitive subject matter for entertainment value. Lee, on the other hand, consistently prioritises authenticity and social responsibility, aiming to represent marginalised communities with the nuance and respect they deserve.

Their contrasting views mirror a wider societal discussion about the role of art in addressing social issues. Should filmmakers avoid sensitive topics or tackle them head-on? Is it possible to entertain while simultaneously promoting social change? And who has the right to tell whose story? These questions lack easy answers, leading to a range of perspectives within the public and within the artistic community.

A Microcosm of Societal Tensions

The feud between Lee and Tarantino functions as a microcosm of the larger cultural tensions surrounding the portrayal of race and history in popular media. Their discord reveals the diverse ways audiences perceive and respond to social commentary or the absence of it. Some viewers appreciate Tarantino’s bold, unrestrained style, while others find it offensive and irresponsible. Similarly, some applaud Lee’s unwavering commitment to social justice, while others perceive his work as overly didactic.

Both Lee and Tarantino have made indelible marks on cinema, pushing boundaries and challenging conventions. They have sparked crucial conversations about race, representation, and the power of storytelling. Their feud, though contentious, underscores the potent ability of movies to provoke dialogue, challenge perspectives, and ignite passionate debate about the role of art in reflecting and shaping our world.

Also Read: The Tarantino Crossover That Never Happened – Django & Zorro

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Crooklyn is a semi-biographical story written by Spike Lee and his siblings Joie and Cinqué. Troy is the only girl in a house she shares with her brothers Clinton, Wendell, Nate, and Joseph, their parents, the struggling musician Woody (Delroy Lindo), and the schoolteacher Carolyn (Alfre Woodward). The neighbourhood is composed of Blacks, Latinos, Italian Americans, and the loner Tony Eyes, played by David Patrick Kelly (The Warriors), who gets third billing in the picture as he pulls double duty by playing an evangelical pastor in the second part of the picture, showing that he is not only prolific but also ranged.

It is saddening to see that only some made an impact from the children’s cast after Crooklyn. They are very talented and show chemistry, acting naturally and behaving like real-life children do by mocking, discussing, and even hurling racial abuses at each other, as children do when adults aren’t around. Woodward and Lindo represent the love that shelters the family. Still, it is full of conflicts, authority, and boundary disputes, not to mention money issues, as happens in many middle-class households. They aren’t poor, but they must fight to make ends meet.

Crooklyn narrates the goings of the neighbourhood, and it belongs in the director’s ‘Chronicles of Brooklyn’ which is also composed of She’s Gotta Have It (1986), Do The Right Thing (1989), Clockers (1995), and He Got Game (1998). However, it feels like an entirely different movie when Troy leaves Brooklyn to stay with affluent and conservative relatives in the South; these distant scenarios have the soundtrack performed by jazzman Terence Blanchard, which adds depth to the narrative.

To distinguish life in the South from Brooklyn, Spike Lee employs an anamorphic lens, thus giving more bucolic and squeezed visuals that corroborate Troy’s alienation. The protagonist celebrates her 10th birthday with Cousin Viola, with whom she gets along, and her parents: the mild-mannered Uncle Clem and the obnoxious Aunt Song. The landscape strays from her reality as she sees herself surrounded by green areas, nature, and not so many kids, all very different from her Brooklyn experiences. This passage can help understand Lee’s vision of Black life in the South as some are humble and grounded like Viola and Clem or drowned in their sense of moral superiority like Song.

Crooklyn is a bittersweet piece of cinema showing black girlhood. It is based mainly on Joie Lee’s experiences, touching not only on social issues but also more personal dilemmas such as grief, family, growing up, and nostalgia. ‘Crooklyn’ is different from other Lee movies as the struggling family is not fighting oppression directly but trying to live with their lives as many do, therefore more relatable to the viewer, and the belligerence that Black adults deal in their life is not as present as in ‘BlacKkKlansman’ (2019) or Da 5 Bloods (2020), it has to be mentioned that Harris and Woodward turn the scenes even more plausible, therefore making it stand out as its own thing in the director’s repertoire while showcasing Joie Lee’s writing skill on her first script.

Also Read: Space, Satire, and Society: Tracing the Trajectories of “Red Dwarf” and “Homeboys in Outer Space”

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Today we’re going to look at what makes Blumhouse special by finding out more about their company ethos and history. And listing off the five best films that Blumhouse has produced.

About Blumhouse

Blumhouse Productions was founded in 2000 by Jason Blum. The studio’s goal is to produce high-quality micro-budget films. These projects can then be sold to wide audiences through big studio distribution. Its first big success was 2009s Paranormal Activity, which Paramount distributed. On a $15,000 budget, it made over $193 million worldwide, putting Blumhouse on the map. Blumhouse has since had many big studios distribute their movies. Such as Netflix, Warner Bros., and in 2014, they signed a 10 year deal with Universal. Which has helped many of their productions to gain more attention through Universal’s marketing.

Blumhouse is also a haven for creatives. As it allows the filmmakers creative freedom to make the projects they want to make, even if many aren’t well received. Consequently, they have attracted a wide range of established directors to work with them. Such as M. Night Shyamalan, James Wan, Spike Lee, and more. And as previously mentioned Blumhouse has been a starting platform for several acclaimed modern filmmakers. Like Jordan Peele, Leigh Whannell, and Joel Edgerton. But what are the best projects Blumhouse has had a hand in?

Blumhouse’s Top 5 Films

1. Whiplash

Andrew wants to be a well-respected drummer, but his teacher Fletcher believes that to achieve greatness you must be truly ruthless. With the borderline abuse Fletcher heaps on him, can Andrew achieve his dream and keep his sanity? Blumhouse not only helped Damien Chazelle to produce Whiplash but also produced the original Whiplash short film to attract investors. Allowing us to get my personal favorite Blumhouse film.

2. Get Out

Jordan Peele’s directorial debut about a white woman, Rose, taking her black boyfriend, Chris, to meet her outwardly progressive, but secretly shady family was an immediate smash hit with critics and audiences. It also became one of the few horror films to be nominated for best picture and became the highest-grossing feature debut by a black director in history. Get Out is probably Blumhouse’s most significant contribution to modern horror.

3. BlacKkKlansman

BlacKkKlansman follows black police officer Ron Stallworth, who infiltrates the Ku Klux Klan over the phone. With the help of white Jewish officer, Flip Zimmerman, he aims to prevent violence from the KKK. While a coproduction the film embodies the Blumhouse spirit of low budget passion projects with a message similar to other Blumhouse projects like The Purge. BlacKkKlansman is both incredibly entertaining and incendiary regarding its message. The fact that Blumhouse was willing to commit to something so outrageous shows why it has gained a lot of good faith from filmmakers.

4. Split

Three girls are kidnapped by a man named Kevin. They discover that Kevin has twenty-three different personalities. And another personality, “The Beast”, will soon be manifesting itself, aiming to kill the girls. Can the girls make it out of their prison before it’s too late? Of M. Night Shyamalan’s Blumhouse films (the others being The Visit and Glass) this is undoubtedly the best. With two incredible performances from James McAvoy and Anya Taylor-Joy, a story that keeps you hooked with fascinating characters; a good level of suspense, Split is a rewarding ride.

5. The Invisible Man (2020)

With Elisabeth Moss’ bravura performance, an intriguing story about a woman fleeing from her abusive scientist boyfriend only for him to use his scientific knowledge to wreak havoc on her life and sanity and beautiful direction that builds tension to almost unbearable levels simply by using negative space within a shot, The Invisible Man (2020) is a great showcase for what low budget horror is capable of.

And so ends our foray into the best that Blumhouse has to offer. Have I missed any of your favourites? Be sure to tell me your Blumhouse recommendations in the comments.

Also Read: What Happens To Your Brain When You Watch A Horror Film

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“We fought in an immoral war that wasn’t ours for rights we didn’t have”

Da 5 Bloods tells the story of ageing Vietnam veterans, Paul, Otis, Eddie and Melvin, as they return to modern-day Vietnam. They arrive to bring back the remains of their fallen leader, Norman, as well as the gold they buried. While the Bloods are the central characters, most of the focus is put on Paul and Otis. Paul, suffering from severe PTSD and wearing a MAGA hat, has had the hardest time adjusting to civilian life. While Otis has an old flame he reconnects with in Vietnam. Melvin and Eddie get less development, but the camaraderie of the four is excellent, as they do elaborate handshakes and have in-jokes. Norman, the fifth member is presented as an almost mythical figure, described as Malcolm X and Martin Luther King. Although he only appears in flashbacks, the loss they feel without him is clear.

 The group are first reunited in modern-day Vietnam, a stark contrast to the usual depiction and how they remember it. The culture clash is even more jarring after the opening, which uses real-world footage about the war and black people’s struggles at the time (many of which are still present today). Just as things are settled, there is a grim reminder that, while time has passed, the war hasn’t ended for everyone. The film does a great job at exploring this theme, despite the aspect ratio and grainy footage, the characters remain the same age in flashbacks. No recasting or de-ageing ala The Irishman. It shows how they feel they haven’t changed since the war, as well as highlighting the tragedy of Norman being killed as a young man.

“After you’ve been in a war, you understand it never really ends”

The film is at it’s best during these moments, a simple interaction at a marketplace causing Paul to have a panic attack. Or a prankster setting off firecrackers meaning all four of them dive to the floor. It’s clear that despite the passage of time, they’ve never really forgotten. Paul’s support of Trump is implied to be a direct cause of the war, having spent so long being told people who look different are the enemy. This distrust extends to Vinh, the Vietnamese guide taking them to the jungle, whose family thought for the Viet-Cong. Like BlacKkKlansmen it makes use of real-world footage, here flashing footage of the horrors and figures of the Vietnam war. While these are quite jarring and distract from the film, they are incredibly effective. It’s one thing to hear about something but another to actually see it.

Unfortunately, the film does start to lose steam around the hour mark as it switches gears. Having found the gold, the veterans have to survive long enough to keep it. Becoming more of an Indiana Jones-style adventure film than, the Vietnam character study it was before. The film doesn’t totally abandon the themes, with Delroy Lindo delivering some exceptional monologues to the camera as Paul wanders the jungle alone, unable to trust anyone. While the action scenes are well done, they grow stale towards the end and are far less interesting than the psychological battles being fought. The film is also a touch too long, coming in at two and a half hours.

Final Verdict

An effective and important tale that tackles it’s themes head on. Although things become unfocused in the later half, it is still a worthy watch, with a powerful perfomance from Delroy Lindo and some execellent uses of Marvin Gaye. It’s a shame the second act doesn’t hit as hard as it should, but it sticks the landing.

Rating: (3.5 / 5)

Also Read: BlackKklansman (Review)

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It’s hard to judge from the movie poster exactly what type of movie you’re going to see. Is it some sort of bizarre, slightly-misguided comedy? Could anyone really try making a movie about a black man joining the Ku Klux Klan and produce something with any shred of solemnity?

Turns out, Spike Lee can.

The premise

BlacKkKlansman conveys the real-life (yes, this ACTUALLY happened) account of Ron Stallworth who, in the late 1970s, became the first black police officer in the Colorado Springs Police Department. Stallworth starts off in the records room before transferring to undercover at his own request after being racially abused by another officer (and likely others). During his first assignment, he attends a rally featuring civil rights leader Kyame Ture and meets Patrice Dumas, president of the black student union at Colorado College, in whom he immediately develops a romantic interest.

After the rally, Stallworth switches to the intelligence division, where he notices an advertisement in the local paper offering the chance to join the Ku Klux Klan. Stallworth calls the number listed in the ad and pretends to be a racist, anti-Semitic white man, convincing the chapter leader Walter Breachway to meet him. In order to infiltrate the Klan, Stallworth recruits Flip Zimmerman, his Jewish co-worker, to act as him when meeting Klan members face-to-face. Together, Stallworth and Zimmerman begin a dangerous undercover investigation into the Klan that becomes increasingly menacing with each passing minute in the film.

Expert craftsmanship

The acting in this film is superb. Stallworth is played by David John Washington (son of Denzel) who strikes a delicate and mesmerising balance between humour and stony seriousness. He’s an excellent, believable protagonist with a realistic agenda.

Adam Driver (I still can’t not see him as Kylo Ren) plays Flip Zimmerman and gives a typically brooding performance that draws you in from the get-go. Every scene in which he’s playing the Ron Stallworth character in the presence of the KKK members is horrendously tense and impossible to look away from. I found myself quite literally on the edge of my seat in the cinema, which doesn’t happen often.

Supporting players in the film include Laura Harrier as Patrice Dumas (and a strong female lead), Ryan Eggold as Walter Beachway, Jasper Pääkkönen as the I’m-going-to-kill-you-at-any-moment Felix Kendrickson, the wonderful, casually sinister Topher Grace as David Duke, and Alec Baldwin in a brief but hilarious cameo role. No-one in this film feels underused or two-dimensional, and the chemistry between the actors is palpable.

Spike Lee, of course, does an impeccable job turning this almost-implausible story into the viewing experience that is BlacKkKlansman. Jordan Peele (Get Out) brought the story to his attention and he evidently ran full-tilt with it, forging a slow-burning atmosphere with long takes, pinpoint mise en scène and costume design, and carefully-executed depth in every shot (kudos to cinematographer Chayse Irvin) to transport you convincingly back into the late 70s.

The final scenes of this movie, however, will jolt you back into 2018 and provide a shocking reminder of the current state of our world, especially the US. I won’t say any more than that, but be prepared.

The Bottom Line

This is a movie you have to see. It’s not always comfortable viewing (not that it ever pretends to be) but it’s wildly entertaining from start to finish. Spike Lee has produced a masterpiece that’s expertly laced with themes of racism, violence and injustice that are all too relevant in modern-day America.

And it’s my first five-star review.

Verdict:  (5 / 5)

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