Review: Blackkklansman

In the current social and political climate, this film’s premiere date feels particularly resonant. However, while BlackKKlansman possesses undeniable strengths, it ultimately fell slightly short of my expectations. (Blackkklansman is now also available in UHD 4K edition).

Set in 1972, the film introduces Ron Stallworth (John David Washington), the first black police officer in Colorado Springs. Initially assigned to the archives, he faces daily encounters with racism. Driven by a desire for more impactful work, he volunteers for an undercover assignment, infiltrating a Black Panthers meeting. There, he is captivated by both the charismatic Patrice Dumas (Laura Harrier) and the powerful rhetoric of Black Panther leader Kwame Ture (Corey Hawkins). This successful infiltration allows Ron to transfer to the department he desires. One day, he responds to a Ku Klux Klan recruitment advertisement in the newspaper. Posing as a white man with racist views, he is surprised when his inquiry is met with interest. The Klan requests a meeting, presenting a logistical challenge. The solution: Ron’s white partner, Flip Zimmerman (Adam Driver), assumes Ron’s physical identity for in-person interactions, while Ron remains the voice on the phone. The situation escalates when Ku Klux Klan leader David Duke (Topher Grace) visits the town, putting their entire operation at risk.

The strengths of The Blackkklansman are immediately apparent. The performances are uniformly strong, with the dynamic between John David Washington and Adam Driver being particularly compelling. The film’s period detail is meticulously crafted, and the subject matter is undeniably relevant. Furthermore, several scenes generate genuine tension and excitement.  

However, certain aspects detract from the overall experience. This is a difficult critique to deliver, as I sincerely wanted to celebrate a film addressing such an important subject. Unfortunately, Spike Lee’s approach lacks subtlety, employing a heavy-handedness that borders on condescension. The film’s marketing suggests a dramedy, but it struggles to maintain a consistent tone. It oscillates between lighthearted comedy, stark drama, and documentary elements. The portrayal of the Ku Klux Klan members as cartoonishly evil diminishes their impact, making even a character like Thanos feel more nuanced in comparison.

The screenplay also takes significant liberties with the true story. While adaptations often involve alterations, in this case, they further stretch the bounds of an already improbable narrative. Several plotlines feel forced, serving primarily to advance the story to the next sequence of events. Paradoxically, one of the film’s most outlandish elements – Ron’s assignment as a bodyguard for David Duke – is actually based on real events.  

David John Washington delivers a compelling performance as Ron Stallworth. For those noting a resemblance, he is indeed the son of Spike Lee’s frequent collaborator, Denzel Washington. Adam Driver portrays Flip Zimmerman, a Jewish officer who confronts the pervasive racism around him. Driver is characteristically excellent, and while the character’s background was altered for the film (the real officer’s name was Chuck and he was not Jewish), his portrayal feels believable and engaging. Topher Grace, as David Duke, embodies the character effectively, though the one-dimensional nature of the Klan members limits the impact of his performance.  

In summary, The Blackkklansman presents a mixed bag. The script’s deviations from the source material result in a somewhat less grounded portrayal of Ron Stallworth, granting him both unjustified disadvantages and improbable advantages as required by the plot. The film’s pacing suffers at times, and the concluding sections feel overly didactic, resembling a sermon from Spike Lee. While a documentary approach to this story might have been more impactful, the finished feature film is a worthwhile, though imperfect, effort.