Spike Lee wasn’t the original director for this massive biographical story about Malcolm X’s life, but it makes sense that he was the director that ended up making the film. Lee took over after Norman Jewison, director of In the Heat of the Night, an important film about race relations from the 60s, stepped out. The script had been written by Arnold Perl and James Baldwin in the 70s (though that had its share of struggles), and Lee reworked that to get it to something he felt was his own. So how does the film work as a biopic? Does it feel more like a biopic? More like a Spike Lee joint? Or a blend of both? Join us – Pete Wright and Andy Nelson – as we return to our Spike Lee series for a member bonus episode looking at Lee’s monumental 1992 film Malcolm X.
Here’s a hint at what we talk about in our episode about Malcolm X.
What exactly is a biopic? And how does this fit into the mix? When Spike Lee does a biographical story like this, how well do his usual elements fit? It’s a lengthy film, and Andy struggles with the gargantuan story more than Pete. Could Jewison have told this same story, minus the elements that are obviously Lee’s insertions like the open and close? What do we think of Denzel Washington in the role? How about the rest of the cast? And the look? It’s a big film that works great for Pete and does a good job of teaching but doesn’t provide an emotional connection for Andy. Where do you land? We have a great conversation about it regardless, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
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- Script Transcript
- Theatrical trailer
- Poster artwork
- Original Material
- Flickchart
- Letterboxd
- NYT Article about exoneration of 2 of Malcolm X’s killers
