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BlacKkKlansman Review


2018 is a hard year for making political art. Commentators said the election of Trump would do wonders for the format, but it's only made it harder. Everything's so polarised that you're inevitably going to infuriate half the population and it's highly likely you'll find yourself repeating tired talking points rather than making anything insightful. It's a shame because this is a time when we could really do with exactly that. Spike Lee's BlacKkKlansman is perhaps the most high profile film attempting to explicitly fill that gap and it's doing so from a promising angle. Exploring a fascinating and seemingly relevant true story opens up opportunities to reflect on history to understand the present. Does BlacKkKlansman fulfil this potential?

Much has been said about the ending of BlacKkKlansman. It's not a particularly subtle way of drawing parallels with today's racial climate but it's an undeniably powerful (and distinctly Spike Lee) moment. The entire cinema was stunned into silence, which is quite an achievement considering even the audience I saw A Quiet Place with couldn't keep their mouths shut. That said, there were many, less blatant comparisons littered throughout the film as well. Trump rhetoric is often slipped into Klan members’ dialogue quite naturally because, well, it's the same rhetoric. Elsewhere, frightening juxtapositions between the ridiculous Klan rituals and the harsh reality of oppression emphasise the true consequences of these hate organisations. As a piece of political filmmaking, BlacKkKlansman is urgently relevant.

Setting aside the politics, Spike Lee has created a wildly entertaining film. It's wonderfully stylish without being overblown or indulgent. Lee allows the period’s aesthetic to speak for itself thanks to an extremely close attention to detail. The soulful soundtrack, slick design and sharp cinematography really bring the '70s to life. BlacKkKlansman is also uproariously hilarious when it wants to be. Its biggest laughs come from humiliating racists, a thoroughly satisfying practice given the state of 2018. Additionally, the performances are top-tier. John David Washington and Adam Driver nail the central partnership, forming a dynamic relationship through their contrasting characteristics. Topher Grace also masterfully inhabits the infuriating sliminess of David Duke, exposing the hatred that lies beneath the Grand Wizard's polished appearance.

Unfortunately, actual character development often takes a backseat to the comedy and politics. This is most apparent in the 'romance’ between Ron and Patrice which, whilst fostering some thoughtful political conversations, never manages to provide convincing chemistry. Tonally, BlacKkKlansman also fails to balance the humour and the horror particularly effortlessly. By themselves, both tones are highly effective, but moving between them often feels jarring. That said, maybe that's a good thing. Maybe it's important in these times to draw a distinct line between what's funny and what's serious. At the very least, it gives BlacKkKlansman an air of unfettered anger at today's insane world that couldn't feel more apt.

BlacKkKlansman isn't a perfect film. In retrospect, the film's flaws will likely become more apparent, but right now it feels right. Just like the politics of today, it's angry and messy and funny and terrifying. As is so often the case, the best way to understand our present is through our past. Whilst BlacKkKlansman doesn't attempt that discreetly, it does so with unforgettable strength, without forgetting to entertain us along the way.

8.1/10

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