Some time ago, someone I know on Facebook (I don’t recall who) mentioned watching BlacKkKlansman and commented not liking this movie “that was supposed to be a comedy.” I was busy, so I didn’t stop to comment, but I should have. I’m not sure who gave her that impression, that this film is a comedy. It’s not. In fact, I’d say the humor that is there is woven as relief from discomfort—both for the viewers and for the characters. But I cannot help but wonder if the misclassification of the genre led to dislike.
BlacKkKlansman, I think, touts itself as a drama. And yes, I suppose that’s the best description. As a knee-jerk reaction, I want to call it part parody, but when you look at it honestly, it’s not that at all. Maybe that’s just the way I want to protect the disgust at the human behavior portrayed. I’m not sure. Either way, it’s a glaring look at racism. And racism isn’t funny. Nor is its portrayal, in this more enlightened age, typically parody. (Note that I don’t pretend our age is actually enlightened, only more so.)
The story of Ron Stallworth IS based in fact. Now, that said, dramatic license was taken in building the events that happened (or didn’t) in Colorado Springs, but this black police officer did join the KKK (with a white detective stand-in for in-person meetings). He did speak to David Duke. He did get a KKK membership card. And I have zero doubt of the putrid hatred he heard from other members of “the organization.”
As for the movie as artistic subject, it is a good film. It takes the viewers on a journey with necessary tension builds, drops of comic relief, an underlying romantic undercurrent, and a social justice story arc. John David Washington rocked his role, and Adam Driver brought complex layers needed for his character (admittedly, I’m a huge Adam Driver fan). But as good as it is, and as stellar a job as Lee did at directing (so many scenes are fabulously effective based solely on how they are shot), I cannot imagine it is Best Picture of the year. Granted, when I watched this, I hadn’t seen any other nominations. But having seen so many of years past, this isn’t there.
But it IS an important movie. It is an important thing to see the strength of racism. But I believe this is the case only for anyone with either the understanding of or with an open enough mind to realize that racism is still such a tight weave in our society’s fabric.
I originally appreciated the setting to be in Colorado Springs (rather than the Deep South). How refreshing to see a movie so wrapped up in racism to not be dripping with over-the-top southern accents. Then, to be honest with myself, I had to adjust that opinion of appreciation. Alas, I had to admit that such story as happened with Ron Stallworth would never have happened in the late 70s in the Deep South. I mean, those relations necessary in the police department to allow this to happen — they just wouldn’t have existed. I grew up in that. It wouldn’t have.
Do I recommend anyone see BlacKkKlansman? I do. But I also know that a lot of people might see it only as historic and not as a precursor to where tensions are today. And seeing the film’s underlying true story as that prologue to where we are today is the real value in the film’s story being shared now.
(As I type this, I’m watching the coverage of the Detroit police officer’s Snapchat “Black History Month” post along with the coverage of Virginia’s governor’s yearbook photos. Yes, the latter might have been from the 80s (close to that time of BlacKkKlansman), but we haven’t grown that much, or at least not nearly enough as evidence from the former example. All of these things sadden me.)