How Spike Lee bends the truth to tackle… | Little White Lies

How Spike Lee bends the truth to tack­le con­tem­po­rary racism

25 Aug 2018

Words by Tom Bond

Two men in white and red uniforms, discussing documents in a room with a large Christian cross illuminated in the background.
Two men in white and red uniforms, discussing documents in a room with a large Christian cross illuminated in the background.
In BlacK­kKlans­man, the direc­tor drama­tis­es real-life events in order to make his point.

There is no more flu­id a phrase in cin­e­ma than based on a true sto­ry”. It can be applied to the most faith­ful adap­ta­tion or one where gen­er­ous cre­ative licence has been tak­en. I, Tonya nailed the inher­ent fal­la­cy of faith­ful­ly depict­ing any true sto­ry by announc­ing that it is based on, irony free, wild­ly con­tra­dic­to­ry, total­ly true inter­views with Tonya Hard­ing and Jeff Gillooly”. In BlacK­kKlans­man, Spike Lee opts for some­thing sim­pler: Dis Joint is based on some fo’ real, fo’ real shit”.

Lee’s film tells the sto­ry of how Col­orado Springs’ first black detec­tive, Ron Stall­worth, suc­cess­ful­ly infil­trat­ed a local chap­ter of the Ku Klux Klan, in the process hold­ing reg­u­lar phone calls with the Grand Wiz­ard him­self, David Duke. Read­ing that syn­op­sis, you might fair­ly assume that the film can’t pos­si­bly be based on entire­ly true event. But you’d be wrong. Almost.

The scene where John David Washington’s Ron makes con­tact with the Klan hap­pens almost exact­ly as described in the real-life Stallworth’s mem­oir. So too does the scarce­ly believ­able moment where he asks Duke how he’d know if he was talk­ing to a black man on the phone. More amaz­ing­ly still, Stall­worth was actu­al­ly asked to guard Duke on his vis­it to the city – he even man­aged to get a pho­to with him. Where filmed fic­tion starts to devi­ate from fact is in the grit­ty details of polit­i­cal affil­i­a­tions and police pro­ce­dure, which Boots Riley, direc­tor of Sor­ry to Both­er You, ques­tioned recent­ly on Twit­ter.

Some of the changes make per­fect sense: Stallworth’s love inter­est, Patrice (Lau­ra Har­ri­er), did not exist, but was intro­duced by Lee to add a lay­er of com­plex­i­ty to the sto­ry and pay trib­ute to the influ­ence of black female activists. Like­wise, the white cop who played Stall­worth in per­son was not Jew­ish, as Flip Zim­mer­man (Adam Dri­ver) is in the film, but this too serves to plau­si­bly raise the stakes. These changes believ­ably drama­tise the book’s themes and, most impor­tant­ly, they don’t betray anyone’s inten­tions or the true mean­ing of any real-life events.

Accord­ing to Riley, part of the prob­lem with BlacK­kKlans­man is that the false parts of it try to make a cop the pro­tag­o­nist in the fight against racist oppres­sion”. He claims that rather than pri­mar­i­ly infil­trat­ing the Klan, Stall­worth was actu­al­ly part of the FBI’s Counter Intel­li­gence Pro­gram (Coin­tel­pro), which entered black rad­i­cal groups, insti­gat­ing fight­ing [and] set­ting them up to be mur­dered by the police or oth­ers”. Even more damn­ing­ly, he sug­gests that white suprema­cist organ­i­sa­tions were only infil­trat­ed as a tool to fur­ther desta­bilise black rad­i­cal organ­i­sa­tions – in essence, the oppo­site of what Lee’s film depicts politically.

Stallworth’s response? I pray for my dement­ed and dis­solute broth­er.” Ouch. There’s no evi­dence that Stall­worth was ever a mem­ber of the FBI or its Coin­tel­pro pro­gramme, though that’s not to say they didn’t do some of the things Riley men­tions in his post. He cites arti­cles sug­gest­ing one FBI plant in the Klan, Gary Thomas Rowe, per­son­al­ly pulled the trig­ger to kill Vio­la Liuz­zo, a white moth­er of three and Friend of SNCC (Stu­dent Non­vi­o­lent Coor­di­nat­ing Com­mit­tee) work­er. He also sup­ports the the­o­ry that Rowe was involved in, or at least knew about, the Birm­ing­ham, Alaba­ma Bap­tist Church bomb­ing, but did noth­ing to stop it.

Yet while Stall­worth and his col­leagues weren’t the vil­lains Riley sug­gests, they weren’t quite the heroes Lee puts on screen either. It’s clear from sev­er­al pas­sages in his book that Stall­worth believed in the civ­il rights move­ment and want­ed to destroy the Klan, but for what­ev­er rea­son his under­cov­er inves­ti­ga­tion became focused on intel­li­gence gath­er­ing rather than arrest­ing Klan mem­bers. The gen­er­al atti­tude of Stall­worth and his supe­ri­ors seemed to be a desire to keep the peace, regard­less of whether the per­son threat­en­ing to breach it was a man in a hood preach­ing hate or some­one fight­ing for equal rights. The book’s vague­ness about some of these key ques­tions is one rea­son to be sus­pi­cious of its truth, as is the fact Stallworth’s infa­mous pic­ture with Duke was con­ve­nient­ly lost.

A man in a white shirt and blue cape with a symbol on it, standing in a room with red walls and candles.

Inter­est­ing­ly, in 1954 the new’ Klan adopt­ed an offi­cial pol­i­cy of non-vio­lence, though as sev­er­al pas­sages in the book prove, not to men­tion count­less record­ed inci­dents, that rarely held true in prac­tice. Nev­er­the­less, the intense inter­ro­ga­tion of Zimmerman’s Jew­ish roots and the film’s cli­mac­tic bomb­ing nev­er hap­pened, and the sum total of crim­i­nal plots foiled by Stall­worth and co amount­ed to a few cross burn­ings and the bomb­ing of two Den­ver gay bars.

So if Lee and screen­writ­ers Char­lie Wach­tel, David Rabi­nowitz and Kevin Will­mott bend the truth to make the cops more hero­ic, they also bend it to paint the Klan more overt­ly as pan­tomime vil­lains. Don’t get me wrong, the Klan’s atroc­i­ties and hatred need no exag­ger­a­tion in gen­er­al, but in this spe­cif­ic sto­ry, it seems the cold hard truth of their activ­i­ties wasn’t bom­bas­tic enough to match the sto­ry of how Stall­worth infil­trat­ed their group.

There’s one sim­ple rea­son why Lee felt the need to bend the truth like this, and he’s sit­ting in the White House. In an Amer­i­ca where neo-Nazis seek vic­tim­hood on the streets of Char­lottesville, a known white suprema­cist was briefly the President’s Chief Strate­gist, and immi­grant chil­dren are being kept in cages on the bor­der, there has nev­er been an eas­i­er or clear­er par­al­lel between the tac­tics and aims of the Klan’s Duke and the cur­rent administration.

Describ­ing Duke’s meth­ods in the 70s, Stall­worth wrote: Pub­licly he would not talk about hate but about her­itage and his­to­ry. He spawned a new racism for the right-wing mass­es, one that meld­ed the antipa­thy to blacks and oth­er minori­ties to gen­er­al dis­sat­is­fac­tion with gov­ern­ment and fear of an ever-chang­ing com­plex world.” Sound familiar?

Although Lee’s dis­tor­tion of this true sto­ry nails the uncan­ny sim­i­lar­i­ties between right-wing move­ments of the past and present, it also leads to a betray­al. By focus­ing on the urgent, big pic­ture sto­ry of the new­ly ener­gised far right, he erased the real­i­ty of the rela­tion­ship between many black cit­i­zens and police offi­cers in Amer­i­ca. As Riley puts it, we deal with racism not just from phys­i­cal ter­ror or atti­tudes of racist peo­ple, but in pay scale, hous­ing health­care, and oth­er mate­r­i­al qual­i­ty of life issues. But to the extent that peo­ple of colour deal with actu­al phys­i­cal attacks and ter­ror­is­ing due to racism and racist doc­trines – we deal with it most­ly from the police.”

A film loud­ly denounc­ing racism and ridi­cul­ing its absurd con­tra­dic­tions is exact­ly what the West –and par­tic­u­lar­ly Amer­i­ca – needs right now. You’ll strug­gle to find fans of Lee’s work who will com­plain that he’s bent the truth to make the Klan look even more evil. Not when real­i­ty is so much more strange and scary than any fic­tion. But in push­ing the film’s heroes and vil­lains to extreme ends of the scale, Lee man­ages to cap­ture the spir­it of the moment at the expense of get­ting to the heart of the rela­tion­ship between peo­ple of colour and cops.

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