DID YOU READ

Shelf Life: “Malcolm X”

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The Sundance Film Festival is a bonanza for cinephiles because it offers them a unique and early opportunity to experience movies yet to be released and filmmakers yet to be discovered. But just as much, it’s an opportunity for film fans to reconnect with the artists who inspired them to love the medium in the first place, even as those artists push their work into new, unforaged or at least hopefully more deeply refined territory. And in 2012, no known filmmaker made a deeper impression at Sundance than Spike Lee, whose “Red Hook Summer” polarized audiences even as it demonstrated the director’s return to the sort of material that first helped establish him as a great cinematic voice.

Coincidentally, Lee’s film “Malcolm X” was released on Blu-ray this week, and Warner Home Video did an excellent job of putting together a release that at the very least is worthy of the film’s enormous ambition. But given the fact that it came out near the peak of Lee’s earliest success, and it was released some 20 years ago, when films like this could be incendiary and provocative and yet conventionally satisfying all at once, does “Malcolm X” hold up as a great work of art? Not having seen it in many years, we weren’t sure, but that’s why “Shelf Life” was created – to see how well a film’s artistic bona fides stand up years after its initial release.


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The Facts

Released on November 18, 1992, “Malcolm X” was always seen to some extent as a prestige picture by Warner Brothers, so even though it didn’t hugely outgross its budget (it cost $33 million and made $48), it was a modest financial success. Despite the controversy over its conception – including Lee’s condemnation of the film’s first choice of director, Norman Jewison, and the generally mixed feeling many moviegoers had over supposedly glorifying such a divisive historical figure – the film went on to receive significant praise from the critical community, garnering a 91 percent fresh score on Rotten Tomatoes.

At the Academy Awards, star Denzel Washington received a nomination for Best Actor but lost to Al Pacino for Scent of a Woman. The film was also nominated for Best Costume Design. Washington won the Silver Bear Best Actor award at the Berlin Film Festival. The Chicago Film Critics Society gave the film Best Picture, Best Actor and Best Director awards, and nominated Al Freeman Jr. for Best Supporting Actor.


What Still Works

First, on a technical level, the film is beautifully constructed – there’s no fat on its three-plus hour running time, and it truly feels like it captures the most important moments in X’s life. (And more importantly, the transformation the former Malcolm Little makes into El-Hajj Malik El-Shabazz is natural and unforced, but pointed.) Lee’s script captures the mindset of the former hoodlum as he transforms into the figurehead of the Nation of Islam, and then strikes out on his own as a Muslim who refuses to be bound by blind faith but must rely on logic and common sense just as much. And Ernest Dickerson’s cinematography captures some of the most glorious images ever put on screen; the director of photography has an approach that’s not unlike, say, Robert Richardson’s, where the fills the screen with color and light, and isn’t afraid to create a stylized world while somehow managing to make it still believable.

Washington’s performance as Malcolm X is one of the great in cinema history, and it’s a genuine tragedy that Al Pacino won an Oscar over him for his mugging, grandiose performance in Scent of a Woman over this complex, nuanced and utterly affecting turn. The actor’s febrile energy sizzles during the early scenes in which Malcolm fearlessly throws himself into a life of wasteful self-indulgence, and later, criminal misdeeds, and later his palpable intelligence balances out that ferocity that feels as much like a maturation of Washington himself as the character. As Elijah Muhammed, Al Freeman Jr. inspires an immediate kind of awe, and a reverence that both Washington and the audience respond to, creating a character whom we can understand why Malcolm committed himself so fully – and later, felt so powerfully disillusioned because of.

Thematically, the film should resonate with any person of any color, as its fundamental story is an American archetype – the transformation of a person with nothing into a person of great character and accomplishment. That Lee is able to successfully communicate that without X’s rhetoric overwhelming it is a testament to his virtuosity as a filmmaker. At the same time, there’s a much more fascinating and resonant idea percolating beneath the surface of the story, and that’s of a person who discovers faith and then finds that faith shaken. There’s something beautiful and tragic and truly moving about Malcolm’s commitment to the Nation of Islam and Elijah Muhammed, because he inevitably severs ties and exacerbates the rift between himself and them once they excommunicate him.

But there’s also something powerful and uplifting about the rediscovery of Malcolm’s intellectual awareness, his inability to simply accept on blind belief the truth and integrity of what he (and especially Muhammed) is doing. His ultimate rediscovery of his own self through his submission to the Islamic faith is a brilliant parable for any person who believes in a higher power.


What Doesn’t Work

Honestly, nothing. I’ve seen the film many, many times since its original release, and going back, there’s nothing in it that should be removed or redone or that’s problematic in any significant or even noticeable way.


The Verdict

There are many fans of Spike Lee (and detractors as well) who believe that “Do The Right Thing” is his best film, his masterpiece, and they’re right in that it contains the most rage, the most focused frustration turned into character and story. But “Malcolm X” shows the filmmaker not just at a point of advanced refinement, remarkable calm even in the face of such provocative subject matter, but at a place where he was most and best able to create stories that were very unique and yet very accessible to audiences. It certainly helped that at that time, directors like Oliver Stone were pushing buttons and mounting rhetorical cinematic arguments about a wide variety of different subjects. But Lee at that time was an equal filmmaker to Stone or almost any of his contemporaries, and “Malcolm X” is a masterpiece that deserves far more recognition than it ever received.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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