The irony of many of the statements thrown at the biopic before it was even made was highlighted, and the resulting film was a 3 hour 20 minute testament to Lee's persistence at getting his hands on a story he had dreamt about making since film school. The studio had thrown in a budget for and insisted on a 2 hour 15 minute running time, but Lee, understanding that the contradictions and evolution of Malcolm's teachings and the many events and influences that helped shape the man demanded a longer running time. When the budget was exhausted, Lee called in for donations from the African-American community, and many of them obliged. Somehow, it's still too short to really get to heart of Malcolm, but it's certainly a far better film than it would have been had Lee not been so insistent at bringing his vision to the screen.Malcolm's life was crammed with incident, and Lee does a decent job getting almost everything in. Flashbacks to his childhood, when his mother and father were tormented by the Ku Klux Klan and his family lived under the constant threat of death, are juxtaposed with his early life as a sharp-suited, ambitious numbers runner in Harlem known as Red, working underneath gangster West Indian Archie (Delroy Lindo). His actions soon land him in prison, where he meets Baines (Albert Hall), a fellow inmate working for Elijah Muhammad (Al Freeman Jr.) and the Nation of Islam. Baines teaches Malcolm that the drugs and alcohol he enjoys so much are simply ways for the white man to keep the black man in their place, and that the white man is, without exception, the devil. Malcolm leaves prison as Malcolm X, ditching the 'slave name' given to him by his ancestor's owners, and is transformed into an extremely enigmatic and convincing spokesman for the Nation of Islam.
The rush of excitement and danger of the opening third soon gives way to a more serious tone, as Malcolm's radical views on segregation under the watchful eye of 'the honourable' Elijah Muhammad makes him an incredibly controversial figure; loved, hated and feared in equal measure. Malcolm's popularity soon causes rifts and jealousy within the ranks of the Nation, and he sees the man who once took him under his wing become a deadly nemesis. His wife Betty Shabazz (Angela Bassett) receives threatening phone calls, and the family's house is set ablaze. Lee's technical discipline throughout these moments, especially for a director who usually embraces visual flourishes, ensures that a steady, gloomy momentum builds up towards Malcolm's eye-opening pilgrimage to Mecca and eventual murder.
A film of such emotional weight also calls for a great performance, and Denzel Washington delivers in spades. Even when Malcolm is at his most questionable, Washington imbues the character with the same charm, wit and magnetism that no doubt saw him sore through the ranks of the Nation and become loved by many. When the pace sags, and it frequently does, Washington manages to draw you back in with his effortless screen presence. The film manages to paint a well-rounded picture of a man who underwent a few radical changes in his life, thanks both to Lee's thoughtful approach and Washington's incredible performance. Lee does go slightly overboard with his worship of the man at the climax, as Ossie Davis reads a eulogy over a montage of children declaring "I am Malcolm X!" and a speech from Nelson Mandela, but this doesn't do too much damage to what is engrossing, detailed and fearless biopic of an inspirational man.
Directed by: Spike Lee
Starring: Denzel Washington, Angela Bassett, Albert Hall, Al Freeman Jr., Delroy Lindo
Country: USA/Japan
Rating: ****
Tom Gillespie
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