Malcolm X

With Malcolm X, director/co-screenwriter Spike Lee has produced a true-to-life biopic on the title character who was first a strident advocate for the American Nation of Islam during the 1950's and early 60's, later becoming an extremely high profile human rights activist during the civil rights movement, before his assassination in 1965.

The film dramatises key events in Malcolm X's life with the main thread beginning with his post war criminal career and later conversion to Islam whilst in jail, which directly led to his assumption of the identity of Malcolm X . Defining childhood incidents, including his father's death, his mother's mental illness, and his experiences with racism are dramatised in (ironically) brief flashbacks, considering the elephantine length of the rest of the film.

From my understanding of the life of Malcolm X, Lee has stuck closely to the facts in constructing his biography. I believe there is only a limited amount of fictionalisation for artistic and dramatic licence. For that, I guess many will be grateful. Lee has also recreated the roughly two decades the film's story covers, extremely authentically. The sets and costuming are first class, with occasional pieces of newsreel footage and still photos supplementing that of his own filming. The performances are uniformly outstanding. Denzal Washington must have been desperately unlucky to miss out on the 1992 Academy Award for his powerful, central portrayal of the conspicuously, hard-nosed and divisive X.

For me though at 202 long minutes, this film is too dragged out and warranted tighter editing. The first act focusing on his early life of crime in Harlem and later Boston is for instance, needlessly protracted with interesting, but ultimately quite unimportant night club dancing and musical interludes. Could it possibly be that its prolonged appearance is due to Spike Lee himself, appearing in this section as a supporting character?

Malcolm X is a technically well-made, obvious labour of love for Lee, but I think it may have reached wider audiences if edited to a more manageable, less indulgent length.

A great movie if overlong and slightly unfocused.

Washington carried the film with a great performance worthy of an Oscar nomination if not a win which might have been guaranteed had the director managed to focus.

Spike Lee did a good job as director which is saying a lot, given the historical scope, danger of offense, and controversy of the project. His one weak area in this film was editing. There is no reason this movie couldn't have been half an hour shorter. Right off the bat, there were unnecessarily lingering camera shots and scenes that could have omitted. Off the top of my head, I'm thinking of Spike himself sliding under a woman's skirt and mugging the camera. That scene not only failed to further the story but instead made the audience stand up and say, "Hey, that's Spike looking at us!" Lee's biggest editing mistake was based on his desire to tell the story of Malcolm X AND tell the story of the African-American experience. That's more than enough for several movies so why cram it all under one title? After a clear scene illustrating X's life, Lee would move to a large dance hall to illustrate the richness of the African-American experience. A quick shot of the dance hall would have been sufficient. Instead the far away shots were maintained for too long and when the focus moved back to specific characters it moved to the character played by Lee himself. Why? I don't know. It certainly didn't help us to understand X any better. The ending with children saying "I am Malcolm X" also went on too long and should have been part of a separate feature. The cameos were distracting. The movie could have been tighter, shorter, and better except that Spike Lee wanted to put everything, including the kitchen sink, into it.

That being said, it is a great movie and I'm glad I invested the three and a half hours to watch it.

I was only familiar with the history and influence of Malcolm X before I saw the film so I can't really judge it's faithfulness or accuracy. But as a film, I thought it was great. I really like Spike Lee; he keeps things fast-paced and interesting with his camera angles and colours/lighting. For awhile after Malcolm first begins his activism with the nation of Islam, you find yourself conflicted, both respecting the man and often disagreeing with him. Lee handles it well without condemning or supporting really, just showing Malcolm's gradual transition in his beliefs. The inserted documentary footage, especially at the end, shows how Malcolm's words still relate today. Someone commented that they only watched an hour of the movie and Lee doesn't know how to tell a story but maybe if they would be slightly more open-minded, realize it's not a literal adaptation of the autobiography, and actually finish the film, they could understand that Lee does not just want to tell the story of one man but rather wants it to reflect the struggle of a race. I really enjoyed the film; it was long but never slow and definitely worth watching.

Spike Lee struggled mightily to get 'Malcolm X' made, financially and artistically. But when all was said and done, he produced an epic blockbuster and a definite treatment of the man's life.

There's great differences between the two as well, but to me Lee has many things in common with Oliver Stone. Both of them seem to have been born to make films. Both of them are uncompromising in bringing their artistic (and moral) vision to the screen, and neither will try to seduce the public by catering to their tastes. Both present their own interpretation of facts without apology. (For example, from what I've read it's not certain that Malcolm's father was actually killed by Klansmen. But Lee isn't in the same league as Stone when it comes to playing fast and loose with the "truth.") Stone even ends his movie 'Nixon' in a similar way to 'Malcolm X,' with footage of real-life figures blended in, though I'm not accusing Stone of imitation.

This movie has an epic sweep and scope and as a director Lee is up to the challenge. He is served well by being able to direct in several styles, one of which is almost cartoonish: witness the scene where Malcolm (Denzel Washington) and Shorty (played by Lee himself) go stepping out at the Roseland Ballroom, resplendent in their zoot suits. Some comic relief is welcome at times because otherwise the serious, heavy message of the picture might be overwhelming. For instance, the movie opens with a full-screen shot of an American flag while we hear a voice-over of one of Malcolm's most rousing, or inflammatory speeches, depending on how you look at it ("I accuse the white man of being the greatest murderer on the planet!") The flag begins to burn and eventually forms a flaming 'X' as the fiery rhetoric continues. But if you haven't been scared away, the next scene shows the young man Malcolm Little in a funny situation, having his hair straightened by a concoction that threatens to burn off his scalp.

Denzel Washington has won beaucoups of rightly-deserved accolades for his amazing performance in the title role. If you've ever heard or seen Malcolm X's speaking, you will be astounded at the similarities in tone and cadence. The illusion is so real one may not recognize that real archival footage of Malcolm is used late in the film. But this is not a case of style over substance here. Between Washington's talent and Lee's directing and screenwriting, an unforgettable character emerges. The film boasts other fine performances by Al Freeman, Jr. (especially good as Elijah Muhammad, a controversial figure in society, and eventually to Malcolm himself), Delroy Lindo, Albert Hall, Kate Vernon, Ernest Thomas and many others in its large cast.

It's clear that Lee doesn't care for the Motion Picture Academy and they don't particularly care for him. But the snubbing he and his picture got at Oscar time would be comparable to Richard Attenborough and 'Ghandi' not being nominated the year that film was made. Ordinarily, one would think this film is the kind of production Hollywood loves to honor. But Academy Award nominations or not, the film 'Malcolm X' is like the man himself: impossible to ignore.

This was a stirring tribute of a film that to this day still stands the test of time even after its release more than a decade ago. This was in fact a autobiography and educational film which some of the most electrifying performance ever displayed on film,and it is the reason to see why. This was Denzel Washington's finest piece of work and most notably the best of his career in which he should have been nominated for Best Actor Oscar category,instead of his work which he won the Best Actor statue for 2001's "Training Day". Anyway,"Malcolm X",was a brilliant tribute to the controversial black activist,a leader in the struggle for black liberation as well as black pride and one of the most outspoken individuals who had a different side of the civil rights movement where a time when America was at war with itself.

Based on the best-selling autobiography by Malcolm X and Alex Haley,and with spellbinding direction by Spike Lee,it traces the story of Malcolm himself,from his days as a hustler and drug runner and hitting rock bottom during his imprisonment in the 1950's,he became a Black Muslim and then a leader in the Nation Of Islam under the guidance of the honorable Elijah Muhammad. His assassination in 1965 left a legacy of black nationalism,self-determination and racial pride that continues to the day and within a new generation whom for the first time has witnessed a masterpiece of cimematic work. This is marked by strong performances throughout with powerful direction by Spike Lee,cimematopgrapher Ernest Dickerson,and riveting breathtaking performances by Denzel Washington,Angela Bassett,and most notably from Al Freeman,Jr. as Elijah Muhammad. The real centerpiece of the film is from Denzel Washington himself,whose convincing performance in the title role brings this film alive. When this film came out,it only receive one Oscar nomination but however,the film garnered a lot of awards including the NAACP Image Film Award,The New York Film Critics Award for Best Actor,The Los Angeles Times Film Award for Best Director and Best Actor,and MTV Movie Awards for both Denzel Washington and Al Freeman,Jr.--all of this happened in 1992,when the film came out.

As far as the cameos go,this film had a lot of them in one picture including Black Panther Bobby Seale,Reverend Al Sharpton,The Honorable Nelson Mandela,Reverend Jesse Jackson,along with Hollywood walk-ons: Christopher Plummer,Karen Allen,Peter Boyle and Danny Glover,and Whoopi Goldberg.

Brilliant!-Five Stars