The Films of Spike Lee

Randy Bandit:
The one thing I appreciate about Spike Lee's films is that he doesn't try to make safe, palatable films for the larger market. Think about those classic Spike movie scenes: the riot scene from "Do the Right Thing," the good and bad hair scene from "School Daze," the rape scene from "She's Gotta Have It," the lesbian impregnation montage from "She Hate Me," Malcolm's prayer in "Malcolm X," Gator's Crack Dance in "Jungle Fever," and the list goes on. Spike's movies are often intentionally uncomfortable, and in a day when people are doing cookie cutter black romantic comedies, feeling that discomfort of characters moving about in unpredictable situations is refreshing--at least, to me.To call him simply a pioneer of modern black film would be an understatement. He pushed envelopes then and continues to push them now. One can't walk into a Spike Lee film and NOT know it's a Spike Lee film. Whether it's his "floating dolly pull" shot or his double shot of both sides (see the trash can go through the window in "Do the Right Thing" or Malcolm hugging Shorty in "Malcolm X"), Spike Lee's films look different. They actually look like art house films, as opposed to blockbuster movies. Even "Bamboozled" felt more like an art house film, although it was shot on DV.If Spike decided to never make another movie, he has more than justified the existence of his canon. I just hope that he keeps giving us that alternative to what's out there. If not him, then who?

Phill Boogie:
We've already discussed "School Daze" and you know it's one of my favorite films. Overall though, Spike is my favorite filmmaker. I won't say he's my favorite director, because my affinity for him goes beyond any technical, or creative craft. I was too young to go see "She's Gotta Have it" in theaters, but I still became very familiar with Spike. He was this young, outspoken black cat who went to Morehouse and I was instantly drawn in.

The era when Spike was at his peak, was a good time for black folks culturally. Music, TV and film were filled with diverse images. You could be socially conscious and entertaining. Folks get on Tyler for dumbing down black cinema, but things were in bad shape long before Madea hit the multiplexes.

We overcame.

All of a sudden, films shifted to examining this stylized black bourgeoisie class where the only problems were finding a man, or trying not to lose a man. We drove Mercedes, lived in mini mansions and worked in professional worlds where everyone was successful and no white people existed.

Spike's movies, though not always great, are always an earnest attempt at being great and I respect that. I never wanted to be "like Mike." Without a doubt though, I wanted to be "like Spike."