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Spike Lee
The goal of the Director's Series is to collect the best interviews and in-depth "think piece" articles based on conversations with prominent film directors. Edited by Cynthia Fuchs, Spike Lee: Interviews provides some of the best insight into Lee's work available, since he is extremely open to discussing his work, and his provocative work is always being misinterpreted through mainstream media filters.
The Directors: Spike Lee |
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Fuchs includes a basic biographical outline chronology, a filmography,
and selected interviews arranged sequentially from 1986 to 2001 that
cover each of his major films, from She's Gotta Have It to Bamboozled. Lee discusses a wide range of topics that show his varied interests and demonstrate supreme sophistication and knowledge of a variety of subjects. Although Lee is widely regarded as being a spokesperson for black people, this is due to the fact that the media jumped on his celebrity and rang his phone whenever a "black" issue made the headlines--and that Lee was once open to talk about anything. More recently he has grown more savvy and selective about what issues he'll discuss with the media.
Lee comes across eloquently even when the interviewers ask the most banal and basic questions, although you can see him playing with clearly inferior media jockeys like Charlie Rose in parts:
Charlie Rose: Girl 6.
Spike Lee: The new movie, number nine.
CR: Number nine meaning what?
SL: The ninth film I've done.
CR: Oh, the ninth film.
SL: No, the Beatles song.
Through the various conversations and interviews, Lee gives a much better picture of who he is and his artistic vision than you'll see from most directors who attempt to protect their personas. He describes his influences and background openly. You will know how Lee feels about politics, social issues, the film industry, and specific directors. For instance, he discusses at length an ongoing feud he has with Quentin Tarantino and his excessive use of the word "nigger" in his films and the industry's hypocrisy. Again shooting straight to the heart of the matter, he asks Miramax head Harvey Weinstein, "If I brought you a script that had thirty-eight Jewish cocksuckers in it, thirty-eight kikes in it, would you make the script?" The answer is obvious, but Spike makes his point.
Most directors shy away from criticizing other directors, but don't expect Lee to conform to the convention. When asked about James Cameron's Titanic, he states, "I think Mr. Cameron is a great technical director, unsurpassed, but he can't write, and he definitely can't write dialogue." Very aware of industry quirks, Lee employs dry humor in a 1998 interview when describing his lack of disappointment for not winning the Oscar™ for Best Documentary for 4 Little Girls (about the Birmingham church bombing in the early sixties):
"... one of the films was a Holocaust film [The Long Way Home]. I think 15 or 16 Holocaust films have won the short and feature-length categories. I'd rather be the Knicks playing the Bulls at the United Center down by 20 with 10 minutes left--those odds are better than going against a Holocaust film."
Misperceptions are common about many prominent filmmakers and are especially prevalent with the controversial Spike Lee, who has been misinterpreted and misunderstood by numerous pundits who come from a decidedly different background than Brooklyn's Bedford-Stuy. The real deal—the unfiltered source—comes through much better through Lee's interviews, and this collection is a must read for anyone interested in his work. Since Lee clearly ranks as one of the most influential directors of the modern era (even though he's still having difficulty convincing film moguls to fund his dream project about Jackie Robinson), that should include most film buffs.
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| Filmography Highlights |
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She's Gotta Have It (1986)
Early sexy comedy that examines feminist issues. Nola wants it all--she wants the freedom to have sexual relationships with ALL the men she cares for. Three male friends want her to commit to them exclusively, but Nola refuses to give in. Is she merely promiscuous, or does she really express what all women naturally desire? |
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Do the Right Thing (1989)
Lee takes a hot summer day in his native neighborhood to create the most insightful cinematic study of racism in history. Any critic who thinks that Lee should have solved the racial ills of Bedford-Stuy in two hours needs to go spend some time in the inner city. Too many missed the point, making this film's Oscar snub the worst in Academy history--only further offering evidence that America continues to suffer under the yoke of racism. |
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Mo' Better Blues (1990)
Lee grew up with jazz, so this film pays homage to his own father in a personal film. Denzel Washington plays jazz trumpet player Bleek, who not only improvises on stage but also does so with his group off stage, with two different women, and with a manager who has a gambling addiction. |
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Jungle Fever (1991)
Lee covers a variety of social issues here (including drug addiction), but the focal point revolves around a successful black architect from Harlem who has an affair with a white Italian from Brooklyn. Adultery is a serious matter, but the racial and cultural differences create even more complications. |
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Malcolm X (1992)
Ossie Davis asks, "Did you ever talk to Brother Malcolm? Did you ever touch him or have him smile at you?" Spike Lee's film comes close to achieving this, as Denzel Washington transforms himself into the controversial leader and humanizes him. Had the subject matter been more palatable to Academy voters, the film might have rightfully received more recognition. Washington did receive a nomination, however. |
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4 Little Girls (1997)
On Birmingham Sunday the blood ran like wine, And the choirs kept singing of Freedom. Spike Lee makes an effective foray into documentaries with this insightful follow-up to the tragic bombing of a church in Birmingham in 1963--a historical landmark of the Civil Rights struggle. Going beyond the headlines, we get to meet their families face to face and hear their stories. |
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Bamboozled (2000)
A film that may piss you off, but it serves as a great discussion-starter about how well America is doing in race relations. Lee's dark satire provocatively forces viewers to confront their own attitudes--not always a place where most eagerly tread. The uneven film is definitely a challenge on many fronts. |
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The 25th Hour (2002)
Lee's homage to 9/11 is a mixed affair. He often uses current events and works in political/social issues with his patented flashy camera style. Edward Norton plays a convicted drug deal who has just 24 hours left before entering prison; he re-evaluates and reflects on his life with his closest friends. |
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When the Levees Broke (2006)
Lee puts together a timely documentary about Katrina, primarily focusing on the government's feeble and inept response. These are the stories that go beyond what you've seen on CNN. Lee tones down the flashy camera style to hone in on a vast array of people who have been profoundly affected by Katrina and the government's incompetent handling of the recovery. |
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