Malcolm X

November. 18,1992      PG-13
Rating:
7.7
Trailer Synopsis Cast

A tribute to the controversial black activist and leader of the struggle for black liberation. He hit bottom during his imprisonment in the '50s, he became a Black Muslim and then a leader in the Nation of Islam. His assassination in 1965 left a legacy of self-determination and racial pride.

Denzel Washington as  Malcolm X
Angela Bassett as  Betty Shabazz
Albert Hall as  Baines
Al Freeman Jr. as  Elijah Muhammad
Delroy Lindo as  West Indian Archie
Spike Lee as  Shorty
Theresa Randle as  Laura
Kate Vernon as  Sophia
Lonette McKee as  Louise Little
Tommy Hollis as  Earl Little

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Reviews

Stevecorp
1992/11/18

Don't listen to the negative reviews

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Grimossfer
1992/11/19

Clever and entertaining enough to recommend even to members of the 1%

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Nayan Gough
1992/11/20

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

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Hattie
1992/11/21

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

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Tyson Hunsaker
1992/11/22

"Malcom X" is an epic and historical biopic of Malcom X and the most prominent years of his influence as a public figure for race in America. Above anything else, "Malcom X" feels like a character piece considering the film's fine attention to the character's gradual and believable change throughout the movie. Helmed by Spike Lee, this nearly three and a half hour film covers Malcom X's life as a public figure on race, supremacy, and then equality. The audience is treated to one of the best and most devoted Denzel Washington performances ever put to celluloid and solid acting from the rest of the cast. While the film takes a few liberties and might feel biased at times, the epic dives into several important aspects of the character's life which makes this a character piece above anything else. Yes the film explores race in an in-depth and thorough way. Anyone interested in an epic and historical look at one of the most controversial figures in U.S. history, "Malcom X" offers a one of a kind experience that is unforgettable.

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tomgillespie2002
1992/11/23

Malcolm X, Spike Lee's epic portrayal of the street hustler turned spokesman for the Nation of Islam who was assassinated at the age of 39, is undoubtedly the director's most assured, complex and mature film, but it is a wonder that it was ever made at all. Controversy began long before production even started, with heavy criticism laid on the fact that Norman Jewison was lined up direct what many, including Lee, felt was a project a black director should handle. When Jewison gracefully bowed out and Lee took over, many still felt that the polarising activist's life would somehow be whitewashed, labelling Lee a 'Buppie' (middle-class African-American).The irony of many of the statements thrown at the biopic before it was even made was highlighted, and the resulting film was a 3 hour 20 minute testament to Lee's persistence at getting his hands on a story he had dreamt about making since film school. The studio had thrown in a budget for and insisted on a 2 hour 15 minute running time, but Lee, understanding that the contradictions and evolution of Malcolm's teachings and the many events and influences that helped shape the man demanded a longer running time. When the budget was exhausted, Lee called in for donations from the African-American community, and many of them obliged. Somehow, it's still too short to really get to heart of Malcolm, but it's certainly a far better film than it would have been had Lee not been so insistent at bringing his vision to the screen.Malcolm's life was crammed with incident, and Lee does a decent job getting almost everything in. Flashbacks to his childhood, when his mother and father were tormented by the Ku Klux Klan and his family lived under the constant threat of death, are juxtaposed with his early life as a sharp-suited, ambitious numbers runner in Harlem known as Red, working underneath gangster West Indian Archie (Delroy Lindo). His actions soon land him in prison, where he meets Baines (Albert Hall), a fellow inmate working for Elijah Muhammad (Al Freeman Jr.) and the Nation of Islam. Baines teaches Malcolm that the drugs and alcohol he enjoys so much are simply ways for the white man to keep the black man in their place, and that the white man is, without exception, the devil. Malcolm leaves prison as Malcolm X, ditching the 'slave name' given to him by his ancestor's owners, and is transformed into an extremely enigmatic and convincing spokesman for the Nation of Islam.The rush of excitement and danger of the opening third soon gives way to a more serious tone, as Malcolm's radical views on segregation under the watchful eye of 'the honourable' Elijah Muhammad makes him an incredibly controversial figure; loved, hated and feared in equal measure. Malcolm's popularity soon causes rifts and jealousy within the ranks of the Nation, and he sees the man who once took him under his wing become a deadly nemesis. His wife Betty Shabazz (Angela Bassett) receives threatening phone calls, and the family's house is set ablaze. Lee's technical discipline throughout these moments, especially for a director who usually embraces visual flourishes, ensures that a steady, gloomy momentum builds up towards Malcolm's eye-opening pilgrimage to Mecca and eventual murder.A film of such emotional weight also calls for a great performance, and Denzel Washington delivers in spades. Even when Malcolm is at his most questionable, Washington imbues the character with the same charm, wit and magnetism that no doubt saw him sore through the ranks of the Nation and become loved by many. When the pace sags, and it frequently does, Washington manages to draw you back in with his effortless screen presence. The film manages to paint a well- rounded picture of a man who underwent a few radical changes in his life, thanks both to Lee's thoughtful approach and Washington's incredible performance. Lee does go slightly overboard with his worship of the man at the climax, as Ossie Davis reads a eulogy over a montage of children declaring "I am Malcolm X!" and a speech from Nelson Mandela, but this doesn't do too much damage to what is engrossing, detailed and fearless biopic of an inspirational man.

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Michael Garcia
1992/11/24

Spike Lee's adaptation of the Autobiography of Malcolm X is a masterpiece that brings the world's understanding and connection to Malcolm one step closer. Spike Lee's use of filter changes and diegetic sound through the course of the film portrays Malcolm's change in consciousness and the direction of his life. In the first part of the movie we see Malcolm's life as a young man and later a hustler. Colors are seen as bright and vivid which adds to a cartoonish sense of his actions in this part of his life. The conking and zoots suits all seem surreal as to portray Malcolm's reflection of his past. Behind these scenes, jazz music is constantly playing as if the backdrop of a cartoon. In the novel, Malcolm explains that he now knows how such things were all apart of the white man's power over blacks and sees his past as childish. Spike lee later illustrates the dramatic change of Malcolm's life when he is sent to prison, by changing the filter and making shots longer and a darker contrast. Spike Lee shows this darkness at a peak when Malcolm is locked in solitary confinement. The pitch black scene is frighting and the blinding that follows when the door is opened seems divine. Soon after he is brought out of the darkness, he finds Islam with the help of a fellow inmate. Spike Lee, with this use of dark and light contrast, as well as the removal of the diegetic jazz music, shows Malcolm X's change in his life and his path to Islam being his escape from the white man's oppression. I really appreciated this use of contrast to the previous scenes of his life as a hustler. Spike Lee through this contrast was able to present Malcolm's transformation more personally to the viewer than they would have if they had only read the autobiography. As the film progresses from then on, it is a more biographical, informative, representation of Malcolm's life but keeps the personal connection Spike Lee created in the first half intact with many close up shots of Malcolm X. When you reach the final death scene in the film, you truly feel the loss of an important man. The connection that Spike Lee creates with his film can not be overlooked and is only a part of what makes this film an amazing piece of art.

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Jack Stannard
1992/11/25

Spike Lee does a good job with this film. He uses different techniques to show different moods in the film such as the use of different colors. In the opening scene when Spike Lee is walking down the street and into the barber show the viewer can see a variety of bright, vibrant colors by making the sky bright, his clothing vivid and gives a soft focus to the lens. He does this to show the good times and the happy feelings that are going on in Boston without actually saying it. Also during the movie he uses different camera filters to film the same action by using black and white, like a TV would show. He does this to give whats going on a more real feel to the event in the movie to make it seem like it is more an actual event rather than just a film. However, my only concerns are that he hardly gives an exposition of his earlier life. Yes, he does touch on Malcolm's childhood but he doesn't really explain how his dad died or what he did during his teen years as a hustler. I understand that this movie is very long as it is however that period in his life had a large impact on his life going forward and what he believed in when he was an adult. This film mostly focuses on his life as an adult and an active member of the Nation of Islam. Other than skipping the first part of the book for the most part, he does a fine job at getting most of the details in the latter half of his life.

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