|The Frankfurt-Tipp rating:|
|Production country:||USA 2018|
|Running time:||Ca. 135 Min|
|Rated:||From 12 years|
In the early 1970s Ron Stallworth (John David Washington) was the first African American to be hired as a cop in the Colorado Springs Police Department. From his first day at work, the young policeman feels the resentment of his white colleagues. But he won't let it get to him. Wildly determined to show his superiors that he can do more than work in the evidence room, he embarks on a mad mission to infiltrate and expose the Ku Klux Klan. In fact, he succeeds in making contact with a local group over the telephone and reaching the familiar circle of sound leader David Duke (Topher Grace). But then he needs someone who can play the role he played so convincingly on the phone for him on the spot. Is his colleague Flip Zimmerman (Adam Driver) the right man for this? Can the cops bring down the Ku Klux Klan in spite of all resistance?
In his latest film "BlacKkKlansman" director Spike Lee tells an incredible story that actually happened in the early 1970s. Of course Lee has taken some artistic liberties, but the core of the story is so absurd, that nobody can really think of that. With a lot of 70s flair and great actors the picture of a society in upheaval is shown, which threatens to break between progress and panic fear of the changes, which this will bring with it. Although all this happened over forty years ago, it is unfortunately more topical than ever. This is made clear by the shocking pictures Lee shows in the credits of the film.
So "BlacKkKlansman" is not only entertaining over long distances, but also quite relevant. Nevertheless, Lee's production has to struggle with some problems. One is the fact that Lee is not a friend of subtlety. And that's exactly what would have done the movie good in some scenes, which, as they are presented here, seem to be a little bit teacherly and obtrusive. In addition, some figures threaten to be ridiculed by a certain exaggeration. It's not bad in itself. But in connection with the scenes, which are told with great seriousness, the exaggerations just seem a bit incongruous.
Mal absurd comedy, sometimes shocking drama - that often fits, but not always. If Lee had worked more subtly in both areas, he might have had a more harmonious tone. However, the film lives primarily from its message, which is important enough to make you overlook the weaknesses of the production. And therefore there is a clear one despite some lengths and other small point deductions: Worth seeing!
An article by Frankfurt-Tipp