This Spike Lee film examines the life of an aspiring actress in New York. She is upset by the treatment of women in the movie industry during one of her screen tests with 'QT'. Out of work ... See full summary »
Spike Lee's take on the "Son of Sam" murders in New York City during the summer of 1977 centering on the residents of an Italian-American Northeast Bronx neighborhood who live in fear and distrust of one another.
Dark, biting satire of the television industry, focusing on an Ivy-League educated black writer at a major network. Frustrated that his ideas for a "Cosby Show"-esque take on the black family has been rejected by network brass, he devises an outlandish scheme: reviving the minstrel show. The hook: instead of white actors in black face, the show stars black actors in even blacker face. The show becomes an instant smash, but with the success also come repercussions for all involved. Written by
N. Cognito <nobody@noplace>
The one white member of the Mau Maus, named 1/16th Blak in the movie, was played by M.C. Serch, a member of the 80s/90s rap act 3rd Bass. The Mau Maus sing a portion of 3rd Bass's song "The Gas Face" while hanging out in the studio: "Black cat is bad luck, bad guys wear black / Musta been a white guy who started all that." See more »
The mission was accomplished. All of these people left the room thinking they would have real input. I was writing this pilot alone. Myself. Me. Moi.
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The opening credits for the film roll at the end. See more »
Finally, the Truth has been revealed... in White and Blackface!
I approached this film with trepidation due to the mixed reviews(in particular, the flat-out negative review of Ebert at the Movies). Knowing Lee's penchant for controversy, but knowing also his unflinching honesty and passion about his position, I decided to give this film a chance.
I consider myself an educated, articulate, middle-class black-american. And I was wary of Lee's supposed satire which centers on the creation of Minstrel show for the new millenium. By the time I credits rolled, I was applauding.
In this film, Lee takes no prisoners, he neither excuses the white establishment for its entrenched and hard-to-expose racism nor does he excuse the blacks and other non-whites who become the literal agents of this process.
This story of two young black men's rise to financial and commercial glory through demeaning themselves, their talent and by example the group of people from which they hail, is an allegory. Rather than getting stuck in a discussion of this film's form, viewers should consider what it means about the world around them.
The disturbing and unnerving finale, is a suitable response to our rising awareness of inner-city violence, hip-hop culture, the prison industrial complex, and the police state in which many blacks, poor or not, find themselves a part. Instead of offering us solutions this film offers us, as in many other of Lee's films, a wake up call.
As in the body of Lee's work, the camera work gives a gritty cinema verite feel to the scenes, and the performances of Glover, Davidson, Pinkett, Wayans, and Rappaport are dead-on. The cast has a good chemistry and the dialogue will have have you howling with disbelief and laughter.
An incredibly important film, for any consumer, and by definition, any creator of popular culture who may be responsible for the perpetuation and dissemination of DAMAGING and DEGRADING stereotypes. Thank you, Mr. Lee.
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