My first memory of Spike Lee was following the 91st Academy Awards. Upon the announcement that Green Book (2017) had won Best Picture, the acclaimed director reportedly rose from his chair and angrily attempted to leave the Dolby Theater. It wasn’t uncommon for nominees to thinly veil their disappointment, but the idea that he would storm out because his movie didn’t win set me against the acclaimed director. As such, my first ever Spike Lee Joint was only two months ago when I finally got around to seeing the film he had so badly wanted to take home that Best Picture honor; BlacKkKlansman (2017). Making my way through his filmography has convinced me that there is more to Lee than being a seemingly sore loser. So here is what I’ve learned about the man named Shelton Jackson Lee, or as his mother took to calling him, Spike.
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Spike Lee’s mother was a teacher of arts and black literature. “She was the one who introduced me to film,” he says of Jacquelyn Shelton Lee, “My mother had the vision to introduce all her children to the arts…. but she never got to see my success” (1). She died during his sophomore year at Morehouse College. He would later continue his education with a Master’s in film and television from NYU, where he is currently a tenured professor. He has used his powerful storytelling to change the perspective on historical figures, as in Malcolm X (1992), or to tell criminally untold stories, as in BlacKkKlansman and most recently Da Five Bloods (2020). He cares for these stories as if they were his own, like many of his joints are. His filmography feels at times like a biography, as the experiences and places that formed him permeate his narratives; the innocence of childhood and maternal loss in Crooklyn (1994), the portrayal of social issues within the black community in School Daze (1988), and the racial tensions and gentrification of Brooklyn in Do the Right Thing (1989). Lee makes his movies even more personal by starring in many of them himself. In fact, every member of his immediate family has participated in at least one of his projects; his father, a jazz musician, recorded the music for Lee’s first four films, including Mo’ Better Blues (1990). Spike Lee co-wrote Crooklyn with his siblings Cinqué and Joie, and his brother David has done the still photography for almost all of Lee’s films.
For me, Spike Lee Joints stand out as unsatisfying; not in quality or content, but in terms of the feeling that sits in my gut when the credits roll. He doesn’t shy away from displaying brutality, violence, and overt racism (as a result all but two of Spike Lee’s films have an R-rating). But what sets him apart is his determination to deny any resolution to the discomfort. Lee creates this feeling of unease not only with subject matter and dialogue but also with camera angles and movements. His signatures are a double-dolly shot where characters appear to be floating, and the simple direction of having characters break the fourth wall. But they aren’t looking at the camera; they are looking at you. The implied sense of obligation or responsibility for what is going on, especially when the subject matter is so jarring, isn’t pleasant. It’s impossible to watch Lee’s films and feel that everything is hunky-dory in the world and that there is no need for outcry. It’s why his films have become the standard for education on the social issues at hand.
Common criticisms of Lee include that his work can be heavy-handed and transparently political, and I don’t think he would disagree. In an interview with Piers Morgan, he said, “I know I have a reputation, but I’m always being put in this position [where] I have to speak on race… on behalf of 45 million African Americans” (2). He takes that responsibility seriously. For one, the name of his production company is “40 Acres and a Mule Filmworks”, referring to what was promised by the federal government (but never given) to newly freed slaves following the end of the Civil War; a reminder of what Black Americans have suffered at the hand of systemic injustice. In almost every one of his films a character says, “Wake up!”, sometimes repeatedly and directly to the audience. He’s been openly critical of directors that he believes are misrepresenting Black people, including Clint Eastwood, Tyler Perry, and Quentin Tarantino. He felt that Do the Right Thing was passed over in favor of a more polite and comfortable narrative in Driving Miss Daisy (1989), which was showered with praise, even the Academy’s top prize. When asked about his apparent agitation over Green Book’s similar victory, Lee responded, “Every time somebody’s driving somebody, I lose” (3).
Despite losing Best Picture and Best Director, Spike Lee did not go home empty-handed. He won his first non-honorary Oscar for BlacKkKlansman’s adapted screenplay. The announcement was made by Samuel L. Jackson, who got his start in Lee’s films and has starred in 6 of them to date. At the news, Lee bounded onto the stage in a bright purple suit and leapt into Jackson’s arms, wrapping all four limbs around his old friend’s frame for a good few seconds before finally making his way to the microphone. The speech was characteristic of Lee; reminding those present that their country was built on the enslavement of an entire race and the genocide of the Native American people. As a fully committed people-pleaser, it’s hard for me to relate to someone so trenchant and passionate in their viewpoint. Like his films, Lee’s voice abandons subtlety and favors outright-ness and unflinching sophistication. It may not be easy to hear, but without such a bold and unrelenting voice, would we see things the way we do now?