the way it is crafted out..
BlacKkKlansman is a character driven thriller drama depicting the dark times that striked upon American Civil Rights which was steeped by an organization named Ku Klax Klan.
Fortunately, for the makers the taboo subject analyzed in here hits the required note upon the current political situation. The vision of the writers is ahead of its time and with a jagged script like such, they don’t flinch on visiting newer territories. Despite of meddling with such a fragile concept, the feature is surprisingly hilarious with tiny notions of the theories and references of cinema and music of 70’s that is imputed smoothly.
The usual chain terminology in your typical Police Headquarters is depicted aptly with a light environment among the office employees in order to bridge their bonding with concrete material. The husbandry gags kicks in especially when Driver learns to adapt the dialect and tone of Washington with some tricks and tactics that draws in most of the laughs. Ticking for more than two hours, the screenplay is tightly packed in two halfs. The first one is how Driver spears into their world of habitual controversies and “be part of the gang”. While the other half is basically nail-biting “close calls” where Lee’s directorial experience and finesse factors in effectively.
The writing is elaborative with bold and inedible substance that aren’t minced in words and if anything the emotions iterated by them is pure rage, to a point where audience may easily cringe on the seat to the “whiteness” of reality. Lee’s tale is of Mob mentality that he speaks in volume through metaphorical terms foliated in long monologues and speeches that are exhilarating as much as layered. The political narrative is never opinionated since it explores both the side of the coin and tosses in front of the viewer to calculate upon.
The music plays a vital role in Lee’s latest project, the background score is appealing with up beating and heart breaking songs that elevates the momentum of the sequence. Washington’s character is under sheer pressure at most of the time as it fights on both the aspects of the issues depicted in here but his portrayal is sculpted with such panache that it makes you groove when he hits someone or scores in an argument or even moves his legs in clubs. While his better half on screen, Driver recieves a bit more intense role (he still gets few laughs now and then with his partners) as he plays more on the field than behind the desk.
Jasper Paakkonen gets a stand out moment and is probably Lee’s finest Trump card, for he is not only the threat to everyone in the feature but he gets equally wider range as the protagonist does. Harrier, Grace and Burke holds on to their roles tightly and delivers a decent performance. As mentioned earlier, Lee is no short on execution and is probably his best work of his career as he has evolved naturally on delivering a compelling storytelling. The gripping screenplay, debates hidden under ideology and conversations and Washington and Driver’s on screen chemistry are the high points of the feature.
BlacKkKlansman is the finest entries on Cannes festival this year and is a competitive contender to the Golden Trophy and not because of its questions raised in here for the current society but the way it is crafted out.