“I just want to leave you, sisters and brothers, with these last words. If I am not for myself, who will be? If I am for myself alone, who am I? If not now, when? And if not you, who? We need an undying love for black people, wherever we may be. All power to all the people.” – Corey Hawkins as Kwame Ture in BlackKklansman (2018)
Based on the true story of Ron Stallworth, Spike Lee’s comedy-drama BlackKklansman follows an African-American police officer who infiltrates and exposes the Colorado Springs chapter of the KKK in the 1970’s. Though some artistic liberties are taken with the true story – timelines skewed, characters created, and events swapped around to enhance drama – this film provides valuable insight into race relations in the 1970’s and ties it in with social and political issues that continue to this day.
The writing – which won the BAFTA for Adapted Screenplay – features witty, cutting dialogue, moments of genuine humor and arm-gripping terror, relevant real-world situations, and excellent rapport between the two leads, John David Washington as Stallworth and Adam Driver as his partner, Flip. Though Driver is the sole acting nominee for the film, and faces the likely insurmountable task of toppling Mahershala Ali for the Best Supporting Actor award, the entire cast turns in exceptional performances. Even Topher Grace, as KKK leader David Duke, is thrilling to watch. BlackKklansmen kept me engaged and invested from the first minute to the last, and it helps that every character has clear motivations and personalities that clash and meld in compelling ways.
It is undeniable that Spike Lee, as a director, never shies away from making a point, no matter how many feathers it will ruffle – AND he always does it with his signature fearless style. BlackKklansman is the only film this year that left me in utter shock and in tears at the end, jaw hanging open and mind reeling. This film packs an emotional wallop and is bound to stir some discomfort from those who do not like admitting to negativity and problematic issues in America’s history, and it affected me more than any other film this year, particularly because it is interspersed with themes, elements, and scenes that apply to society as it is today. Lee is my personal favorite in the Best Director race for his masterful and engrossing vision, but Alfonso Cuarón is a formidable opponent who is most likely to continue his hot streak come Oscar night. Film Editing is a toss-up, and though my personal favorite is Vice, I wouldn’t be surprised if BlackKklansman overtakes it.
A big triumph for this film is found in Terence Blanchard’s score, which is also nominated. Though I was also a big fan of fellow nominee Alexandre Desplat’s Isle of Dogs score, my favorite from this past year is easily Blanchard’s. It lends itself to the film’s overall tone and assists in creating that distinct 70’s vibe. Plus, it’s the only score among all the nominees that I can recall from memory without having to look it up for a refresher, as it stuck in my mind long after the film was over. Considering Golden Globe-winner Justin Hurwitz was somehow NOT EVEN NOMINATED for his stellar First Man score, a victory for Blanchard would be phenomenal to see.
Though BlackKlansman impressed critics and audiences with its “all the power to all the people” message and themes that fit seamlessly into the current state of the world, it’s a bit of an underdog for the Best Picture race and unlikely to take home the ultimate prize. But if this film somehow slipped past your notice when it hit the big screen this past summer, I highly recommend you see it – even if you’re unfamiliar with Spike Lee’s work or the true events behind this “crazy, outrageous, incredible” story. Overall, I am predicting that BlackKlansman will go 2 for 6 on the night.
Oscar Nominations: 6
Best Picture
Best Supporting Actor (Driver)
Best Director
Best Original Score
Best Adapted Screenplay
Best Film Editing
Frostwritten 