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From my new column in Taki’s Magazine, my review of Spike Lee’s acclaimed film BlacKkKlansman:

Spike Lee’s KkKrazyGlue
by Steve Sailer

August 15, 2018

Spike Lee’s new movie BlacKkKlansman has received 100 percent thumbs up from 46 professional film critics aggregated by Rotten Tomatoes.

This disgraceful unanimity is more craven than even last winter’s unhinged hosannas for Black Panther. That at least was a fair to middling film, while BlacKkKlansman is a junky movie distinguished mostly by Spike’s abiding hatred for white women, which traces back to his fury at his white stepmother.

The other amusing aspect of BlacKkKlansman, a 1970s period drama about a black undercover cop with an immense Afro, is that it comes pre-parodied by the 2002 Eddie Griffin comedy Undercover Brother, which was directed by Spike’s less overpublicized cousin Malcolm D. Lee.

You could imagine that Undercover Brother was intended as an unkind satire on BlacKkKlansman, except that it came out sixteen years earlier. Perhaps old family reunions had given cousin Malcolm a preview of Spike’s enduring phobias and fixations?

Read the whole thing there.

For compare and contrast purposes, here is the trailer for Spike Lee’s BlacKkKlansman:

And here is the trailer for Malcolm D. Lee’s Undercover Brother:

Who is parodying whom?

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  1. Link is bad, bruf.

    • Replies: @MC
    , @Rifleman
  2. Anon[311] • Disclaimer says:

    Is it true that Spike Lee hates race mixing and is against “miscegenation”?

  3. Both those trailers bored the hell out of me. And I like trailers.

  4. @Anon

    Follow the links in my movie review.

    • Replies: @anonymous
    , @donut
  5. Dave Pinsen says: • Website

    That’s one of your funniest Taki pieces in a while.

    I’m surprised anyone got worked up over the Flatbush brothers in Mo’ Better Blues, because how may viewers were awake for their parts? I fell asleep watching that one on cable.

    Spike Lee always seemed overrated to me from his earlier movies, but Inside Man and the 25th Hour were both very well made.

    • Replies: @Steve Sailer
  6. Anon[425] • Disclaimer says:

    I like Spike Lee’s race-ism. What I hate is his dislike for white race-ism.

    We should all be race-ist and be honest.

  7. anonymous[909] • Disclaimer says:
    @Steve Sailer


    Steve, this shit is real weak. Publishing stuff on the internet in 2018 isn’t hard (I’ve even done it for people for <$50/hour so where are your and takimags donations going?) and yet you get this complaint EVERY WEEK. if it happened once or twice I could forgive that but this is ridiculous…

    • Replies: @Steve in Greensboro
  8. @Dave Pinsen

    Inside Man and the 25th Hour were both very well made.

    Spike didn’t write the screenplays for either. He did those for money, and he used to be a pretty good gun for hire.

    The new movie is a hybrid. Some producers came up with the idea and the first (?) draft script, then hired Spike, but he clearly got a fair amount of influence over the final product and got a credit as a screenwriter.

    25th Hour was written by David Benioff, now of Game of Thrones. I liked his “Troy” screenplay as well, although everybody else hated it for adding the Trojan Horse to the Iliad.

  9. TGGP says: • Website

    Even if Spike Lee isn’t the director he once was, that’s no reason to say he was never talented. Coppola ended his career with a bad run, but his hot streak in the 70s really was great and not a fluke. To make that Undercover Brother joke more relevant & up to date: Spike deserved an Oscar more than Tom Hooper ever did. And does anyone today really think Driving Miss Daisy is a better film than Do the Right Thing?

  10. BenKenobi says:
    @Steve Sailer

    Game of Thrones jumped the shark in Episode 6, Season 7.

  11. Dave Pinsen says: • Website
    @Steve Sailer

    Troy was very good. I had forgotten that Benioff wrote it, though now I remember you having mentioned it.

    Inside Man had a good script too, so I was excited to see what would come next from that screenwriter, Russell Gewirtz. But it was a dud (“Righteous Kill”) despite De Niro and Pacino collecting checks for it.

    In the director’s commentary for Inside Man, Spike said he got the idea for the end credits song from one of his film students who recommended the Bollywood movie it was in to him. The Bollywood scene the original version of the song (without the rap) is in is pretty impressive:

  12. Hail says: • Website

    Undercover Brother was anti-White, plain and simple. I wonder how many seeds of doubt on the glories of multiculturalism and the Noble Negro myth were planted in White minds by that movie.

    • LOL: IHTG
    • Replies: @donut
    , @Alec Leamas
  13. donut says:
    @Steve Sailer

    He did a good job with “Clockers” based on a Richard Price novel .

  14. @Dave Pinsen

    I don’t know much about “movie magic” but if they managed to shoot that scene on an actual moving train, it is a very impressive scene, and not just for the risk the actors/dancers are taking but for the camera movements too.

    A colleague reliably informs me that the English subtitles in Bollywood movies often have little or nothing to do with the actual script or lyrics in Hindi, and that the translations might as well have been done on acid.

    • Replies: @utu
    , @Jack D
  15. donut says:

    I didn’t get that impression from the movie . As I recall they made fun of black stereotypes as well . I liked it and rewatched it on Amazon about a year ago and still enjoyed it .
    “Black Dynamite” with Michael Jai White was good . The director Scott Sanders also made “Thick as Thieves” which I think is an overlooked little gem with a good cast .

    It also has the plus of a Pug in a small part .

    • Replies: @Hail
  16. Anon[425] • Disclaimer says:

    I’ll give one compliment to Spike Lee. He tried to be an artist. Maybe not a good one, but he tried.

    He often said the only working American director he really looks up to is Martin Scorsese. Not a bad as Scorsese has been far and away the best American director since the 1970s. In style, Depalma could be just as formidable — CARLITO’S WAY, what a masterwork –, and Spielberg is second to none as showman with fireworks. But as artist, Scorsese had the best run. And even his failures are not total disasters(like some by Altman and Depalma).

    So, I can appreciate Spike trying to be like Scorsese. But then, trying to be isn’t the same as being. Many tried to be like Kubrick but came nowhere close.

    Lee’s problems.

    1. Lack of humility. Scorsese has been a bundle of energy and must have had self-confidence to have done what he did. But he was also a man of profound humility and curiosity, great appreciation for the masters who came before him. In contrast, Lee was infected that black megalomania, as if he all the blings belong to him.
    Even after Scorsese made masterpieces like RAGING BULL and GOODFELLAS, he didn’t go around saying he deserves this award, that award. He’s been very gracious to his peers. But Lee? Total jerk. Bitching about not winning at Cannes. Whining, bitching, and harping like a baby throwing tantrums. Lee’s basic nastiness of character prevented him from learning and developing as an artist. Every time he made a movie, he’d act like making an Event that everyone should pay attention to. At least Ali was a big personality,and his megalomania was fun and endearing. With kermit-faced Lee, it was like suffering Yoko Ono.

    2. Preachiness + Tribalism. Moral and spiritual meanings are found in Scorsese films, but they are not preachy. Also, just because Scorsese is Italian-Americans and feels rapport with the community doesn’t make him go easy on his own people. In contrast, Lee’s films are like the works of Stanley Kramer that were heavy with the Message. Lee made movies around issues and topics than around characters and meanings. So, DO THE RIGHT THING is about Race Relations. JUNGLE FEVER is about race and sex. MO BETTER BLUES is about, well, ‘a black guy is entitled to make the best movie on jazz.’ (It doesn’t work that way.) MALCOLM X is a Black Nationalism 101. Black Spartacus. It’s like reading a magazine article on some subject or other.
    Unlike Scorsese who presents tribalism as a feature of life, Lee practices tribalism as an film-maker, and this undermines even his preachiness. In DO THE RIGHT THING, the message is clear. It doesn’t matter how much Sal tries to be a nice guy. It doesn’t matter how much Raheem is a damn fool. In the end, Lee sides with blacks because he’s black.
    Now, such tribalism is part of life, but an artist is supposed to dig deeper than ‘my side right or wrong’. Also, it undermines the preachy morality because Lee himself is unwilling to rise above tribalism. Why preach to us about justice when Lee’s ultimate consciousness is ‘blacks must stick together?’

    3. Dishonesty. Whatever Scorsese’s real-life politics or views may be, he was honest as an artist. Sure, there were some things he couldn’t do. He couldn’t make the pimps black in TAXI DRIVER. And the Jews in WOLF OF WALL STREET had to be made more ‘white’. But there’s a sense of life with all the delirium, chaos, corruption,and venality. MEAN STREETS is raw and honest about what goes on in the underbelly of Little Italy. Sidney Lumet was comparable to Scorsese with DOG DAY AFTERNOON and PRINCE OF THE CITY, but he got progressively worse and formulaic later on.

    Lee would like us to believe that he is a truth-seeker and teller-like-it-is, but there’s something essentially phony and rigged about his stories. Contrary to DTRT’s presentation of race relations, the ONLY group that caused real problems for everyone in NY were blacks. While every group may have gripes against others, it wasn’t very serious. Even Jews and Muslims pretty much get along just fine in NY except on issues of foreign policy. Whatever Mexicans and Chinese say about one another behind closed doors, they don’t cause each other trouble. The problem is blacks vs everyone else. If Lee were truly honest, he would reveal why blacks cause so much trouble. They are tougher, meaner, more aggressive, and look down on other races. But he won’t go there and just run the same old BS with black fist salutes.

    4. Lack of nuance or subtlety. Now, one can be an artist without refined sensibility or much wit. But some of Lee’s stylistic antics are just plain dumb. When the kid in CROOKLYN goes to visit the suburbs, Lee goes for squeeze-frame. It’s about the most hare-brained way of conveying alienation. Spielberg with ET in the suburbs had a subtler touch than Lee with the black girl.
    Another lack of subtlety is the out-and-out Negrolatry. It’s one thing to have a profound feeling for one’s people. It’s quite another to turn them into sacred objects. In CROOKLYN, the little girl is more than girl. She is black angel-goddess of the Nile. It goes beyond mere sentimentality. It’s a form of idolatry, like the use of APPALACHIAN SPRING for HE GOT GAME.
    In AMERICAN HISTORY X(by Tony Kaye), the idolatry was used ironically — white anxiety wrapped in exaggerated cult of the ubermensch until the hero finally rediscovers his humanity — , but Lee is too busy turning black faces and black bodies into sacred objects. Lee might have happier as a painter or graphic art(in advertising). When characters are turned into sacred relics, they are rendered boring and predictable(which is why I don’t like some of Robert Redford’s movies with its saintlike characters or holy-schmoly preachy messages; he avoided it in THE CONSPIRATOR, a good movie, but it bombed).

    5. Envy. Even though Scorsese may have wished he had the box office successes of his peers, he chose his own path and stuck to it without complaint. In contrast, Lee was consumed with envy for Quentin Tarantino, not least because the latter copped things from Blaxploitation flicks of the 70s. Blaxploitation movies were big for a time in the 70s, but they vanished almost overnight around the mid 70s, and most blacks were embarrassed about most of them, just like everyone dropped disco almost overnight in the early 80s. So, when Lee came into his own, he wanted to be a serious film-maker, not some throwback to trashy 70s blaxploitation. Besides, he graduated from the prestigious NYU film school.

    But then, this kid comes along. He didn’t even go to film school. He looks like a retard and talks really funny. But he makes this movie with cool black hoodlums(copped from 70s blaxploitation films) where people(Samuel Jackson included) say the n-word a million times, and everyone loves it and calls it one of the greatest film since CITIZEN KANE.
    Then, Tarantino gets even more explicit about blaxploitation and has another hit with JACKIE BROWN. Now, Lee is beside himself with envy and resentment. Here he was, a serious black director who put aside childish things and made SERIOUS-themed movies like DTRT and MALCOLM X, but this punkass white kid comes along and makes mishmash pomo movie that blends blaxploitation with French New Wave and TV sitcom. He wins with both critics and audience. Also, NO ONE ever said Lee’s movies were cool and hip. Even his jazz movie was admired for its seriousness, its ‘corrective’ as an authentic jazz movie made by a black guy. Lee was a serious guy, and critics were earnest in praising him. It was duty-bound. Good medicine for all. But it turns out that the critics weren’t really liking him and his movies all that much.
    DTRT was over-praised but it was understandably why. It came after the Reagan 80s when most blacks in movies were happy sidekicks(like in GHOSTBUSTERS) or goofballs, like Eddie Murphy. So much of the black experience was hardly touched upon by Hollywood. Also, Liberal directors were too goody-goody in presenting blacks as angels. Generally, black characters were either too good to be true, like the COSBIES(or BROTHER FROM ANOTHER PLANET or COLOR PEOPLE) or thugs to be shot(like in SUDDEN IMPACT) or taught a lesson(like in ROCKY III). (Oliver Stone depicted blacks more realistically in PLATOON and BORN ON 4TH.)
    So, given the record of depiction of blacks in the 80s, DTRT seemed like a necessary corrective about the real reality. And to Lee’s credit, he was willing to show the nasty side of blacks in DTRT.
    In a way, Liberals were grateful to Lee for showing some of the ugly side of the black community that white directors were too afraid to show. Even as they endorsed Lee’s overall pro-black message, their subconscious was hoping that, via Lee’s airing of urban black pathologies, there could be a more honest discussion of race. (As it happened, NY got worse in the 90s under Stinkin Dinkins, and if NY got back on its feet, it required the DIRTY HARRY policies of Giuliani and Bloomberg, something NYers under DeBlasio are unwilling to admit.)

    Anyway, when push came to shove, Lee chose tribalism, and there were many falsehoods throughout DTRT. Still, it made Lee’s name as a SERIOUS film-maker, and he thought he would make a bunch of more SERIOUS movies and become admired like Scorsese.
    But when Tarantino made PULP FICTION, critics flocked to him and left Lee in the dust. Tarantino made Lee feel like Jeb Bush after Trump got all the love. Lee felt like the Queen in SNOW WHITE.
    Pre-PULP-FICTION, critics were respectfully sucking up to Lee even though they weren’t much enjoying his movies. (Similarly, critics always pretended to appreciate the serious movies of John Sayles when they didn’t much care. Sayles made one really good movie, BABY IT’S YOU, and it’s non-political. But stuff like MATEWAN are deadly in their preachiness and iconography of the Noble Worker. No way to make a work of art. Same thing with Beatty’s REDS. Pure ego-trip and syrupy sentimentalism of radicalism. Notice no one cares about MATEWAN or REDS. But then, the New Left lost interest in the working class anyway.)
    Anyway, if anything drove Lee crazy, it was the success of Tarantino. Here, I can partly sympathize because apart from RESERVOIR DOGS, I think Tarantino has been an utterly useless director(though I admit PF and IB have flashes of brilliance and lots of inventiveness). Also, Taratino’s influence on cinema has been baleful.
    Still, if rap and hip-hop were the music of the 90s, Tarantino was more into the groove of the time than Lee was. In terms of sheer sensibility, I prefer Lee’s seriousness to Tarantino’s hipster glibness. But Tarantino not only understood the Zeitgeist better but played a role(however negative) in changing the culture. For awhile, he was a one-man-redefinition of Independent Cinema, a spell that was finally broken perhaps with MULHOLLAND DR., which became the new gold standard of independent film-making and has influenced several directors since.
    But in the 90s, it’s like everyone wanted to be the New Tarantino. I’m sure DJANGO UNCHAINED also pissed off Lee to no end. Again, Tarantino took elements of blaxploitation with spaghetti western and maybe what he saw on Ken Burns and made a smash hit. It was trashy but both critics and audience loved it. In contrast, Lee’s movies were being ignored by both critics and audience. He tried to be Tarantino-ish with remake of OLD BOY, but it didn’t go anywhere.

    But Lee finally has his Tarantino Moment. The rise of Trump and Alt Right gave him something he can get easy A’s with. Just make a Hate-Whitey movie, and the critics will love him and shower him with endless accolades. Also, riff on blaxploitation, not least by making a movie that is set in the 70s when blacks had them bigass afros. And cook up some convoluted plot that allows for jokes and hijinks. Thus, he could be preachy as usual but also hip with some jiveass story about some cool black dude who pulls some jazzy shit to fool honkey.

  17. Anon[425] • Disclaimer says:

    And does anyone today really think Driving Miss Daisy is a better film than Do the Right Thing?

    I do, but I hate both.

    • Replies: @Jack D
  18. Anon[425] • Disclaimer says:
    @Dave Pinsen

    Troy was very good.

    (Des)TROY sucked. One of the most mindless and stupid spectacles ever made.

    I don’t get it. Ancient Greece and Greek mythology are filled with wonders. But nearly 99% of movies about them are just awful. There must be some kind of curse or jinx.

    • Replies: @Prester John
    , @Antonius
    , @David
  19. utu says:

    I listened once to an interview with some famous movie person from India and he said the screenplays are kept secret, so basically nobody knows the whole script during the making of the movie because they fear that it may get ripped off by competition as they can produce movies pretty fast there. So, as an actor you may not know who you are playing and what is your exact role. So definitively there is no method acting in Bollywood. But it is no different than it was with Fellini who kept some actors on a very short leash and directed them like puppets: Look left, smile, close you eyes, raise your left hand, start breathing…

    • Replies: @Anon
  20. 25th Hour

    Do the Right Thing

    You’ve got to admit he has a point, especially about the Eye-talians.

    Bensonhurst is infamous.

  21. @Anon

    When I was briefly in New York City this year, we walked through Little Italy, which everybody says, “It’s not real anymore, like Chinatown is still an immigrant destination, it’s just a tourist attraction.” But it’s a pretty good tourist attraction. We went in this hyper-Sicilian Catholic church, Most Precious Blood on Mulberry St. I thought to myself, “I bet Martin Scorsese was an altar boy here around 1960.”

    But now I see he was an altar boy at Old St. Patrick Cathedral a half mile north of Most Precious Blood.

    • Replies: @Jack D
    , @Warner
    , @Father O'Hara
  22. @JohnnyWalker123

    Spike Lee has never much liked Italian-Americans. You can see that in “Do the Right Thing”, “Jungle Fever”, “Summer of Sam”, and “Miracle at St. Anna.”

    Here’s a scene where the local Blacks and Puerto Ricans burn down the Italian-American’s pizzeria. I think it’s significant that Spike Lee’s character (“Mookie”) starts the riot. Perhaps he’s trying to tell us something about how he feels about NYC’s Italians.

    Here’s what he said about Italian-Americans.

    The reason for this is very simple: My family, we were the first black family to move into Cobble Hill. At that time, it was predominantly Italian-American. The first day they called us n******. But after that, it was cool.

    You used to see a lot of reporting about east coast Black-Italian racial tension from the 60s through the early 90s (especially around Howard Beach and Bensonhurst), but you don’t hear about much these days. It sort of faded out, just like Black-Korean racial tension after the LA riots. The last time I heard about it on tv was when Reverend Jeremiah Wright (Obama’s former pastor) said that Italians have “garlic noses” and that “Jesus Got Public Lynching Italian Style.”

    Italian-Americans seem to be one of the least SWPL white ethnic groups in America. Lots of them have Trump’s personality type and they seem wildly enthusiastic about him. I bet if NYC had its early 60s demographics, Trump would’ve won the city.

    Remember when Carl Paladino ran for New York’s governor as the Republican nominee?

    Here’s what Paladino thinks about Michelle Obama.

    Asked what he wanted to see “go away in 2017,” Mr. Paladino answered, Michelle Obama, “I’d like her to return to being a male and let loose in the outback of Zimbabwe where she lives comfortably in a cave with Maxie, the gorilla.”

    Remember “Sammy the Bull Gravano”? Here’s what his daughter said about her fellow Italian-Americans.

  23. Meh, Mel Brooks already did a Black Klansman in Blazing Saddles. The few seconds of that has to be more entertaining than Mr. Lee’s biopic.

    • Agree: Steve in Greensboro
  24. Hail says: • Website

    I remember many anti-White jokes and situations kind of driving the movie Undercover Brother. I remember the old IMDB threads of the time (circa 2003) full of people complaining the movie was too racial, too anti-White.

    It may depend on what age at which, or other cultural context from which, one saw the movie. A lot of it was satirical references to the 1970s, I think, and if one didn’t fully know that going in, the movie does appear pretty hostile to Whites on its own terms.

    Americans or culturally-kindred Westerners born, maybe, from the late 1970s to early 1990s, who saw the movie in the early to mid 2000s, will more likely have had this reaction, I think, as would almost all foreigners of any age. I doubt the producers of Undercover Brother thought much about how a Chinese teenager who picked up (or downloaded) a pirated copy would react to the movie.

  25. Anon[425] • Disclaimer says:

    BlacKkKlansman is a perfect title for a biography of Lee.

    JF Gariepy interviews DD.

  26. @Anon

    “BlacKkKlansman is a perfect title for a biography of Lee.”


  27. Con Moto says:

    Both links are bad.

    • Replies: @Steve Sailer
  28. Anonym says:
    @Steve Sailer

    25th hour was ultimately pro-miscegenation propaganda, with the object of creating a race of Zimmermen. Inevitably there will be produced also the odd throwback to the Ur-Zimmerman, as can be seen from the film.

    Skittles, bad!

    • Replies: @Truth
  29. Was Lee really the right man for TPTB to enlist to energize black support for all the White She-Devil former Fed democratic congressional candidates?

  30. Danindc says:
    @Steve Sailer

    Never understood why 25th Hour was so good when Spike Lee has his hands in it. Makes sense now. Benioff is talented.

    • Replies: @Truth
  31. MEH 0910 says:

    about a black undercover cop with an immense Afro

    Police Squad’s Frank, Ed and Big Fro Nordberg at ’70s Disco Crime Scene

    • Replies: @donut
  32. Spike Lee is THE prototypical diversity hire, as well as the fortunate son of an established entertainer. The man has no business making movies based on his own merit, and it is my opinion that any well done aspect of one of films is the result of good acting and or competent production coming from behind the scenes.

    Every one of Lee’s movies picks at the same old scab, and whether he realizes it or not, all of his movies manage to glamorize the very worst aspects of behavior known to black Americans. He’s a fraud.

    And his hatred of white women certainly didn’t keep him from marrying a partial one, who is clearly at least half white, (the other half being ethnically plastic surgery-an.) Even Spike is aware of the low sexual value of black women on some level (as was his father.)

    This is also a guy who sued the Spike Channel for “stealing his name” or some such nonsense. The Troll of the Brooklyn Bridge.

    • Replies: @Anonym
  33. Or maybe Spike never was all that good, but back in the 1980s the whole world just wanted a talented black auteur so much that we overlooked his shortcomings?

    I’ll take Door #2, Monty. I never did get Spike’s movies.

    Undercover Brother is hilarious.

  34. Anon[418] • Disclaimer says:

    The difference between Spike Lee and Quentin Tarantino is the seriousness with which each treats himself. Spike Lee is an angry, serious-minded racist with a message. He, therefore, has limited audience appeal, even among some critics. The vast majority of any audience for the action, adventure, buddy cop drama, thriller, mystery, and science fiction generas – basically everything – isn’t black; most of the audience in general isn’t black, so a black racist who makes non-blacks feel uncomfortable has limited mass appeal, regardless of what he does. Tarantino, on the other hand, is edgy, but in a way that appeals both to wannabe hipster intellectuals and the prole masses who like guns and fire; thus, Tarantino is the more popular of the two directors. Lee will always play second fiddle to Tarantino, whom I consider highly over-rated, because he’s unappealing as a person and too arrogant to make a movie that doesn’t have a not-so-subtle social message relating to his tribe.

  35. @Anon

    Homer evidently doesn’t transfer well to celluloid.

    Has anyone tried their hand at doing a movie version of Virgil’s “Aeneid”? I suspect they’d have the same problem.

    • Replies: @DFH
    , @David
    , @vinteuil
  36. Brutusale says:

    Funny thing is that Pee Wee (as Howard Stern calls Lee) and his new daddy Blanchard are both married to two of the highest yella women you’ll ever meet.

  37. What these Brooklyn-accented paisans are doing in the Colorado Springs police department and Klan is left unexplained.

    I always thought the same thing of Laverne and Shirley. It was never explained why a bunch of people from Brooklyn (Laverne, Carmine, Lenny and Squiggy) moved to Milwaukee in the 1950′s.

  38. I saw Undercover Brother years ago and found it delightful, full of self deprecating humor–which is unusual for black guys because they’re notorious for not having the self awareness to appreciate the value of self deprecating anything, and the director knows that, which makes the movie just that much more enjoyable.

    Does that make sense?

    • Agree: Desiderius
    • Replies: @Roy
  39. Marcus says:

    I get “how do you do fellow kids?” vibes from him: he’s a relic of the late 80s-90s

  40. @JohnnyWalker123

    Italian-Americans seem to be one of the least SWPL white ethnic groups in America.

    True, but the southern Italian/Sicilian types seem closer to North Africans than Europeans.

    • Replies: @Forbes
    , @S. Anonyia
  41. Steve,

    It’s not cravenness.

    In their minds they’ve already won and are now hunting down the stragglers.

  42. countenance says: • Website

    So the movie is nothing more than begging blacks and Jews to bury any beef they have with each other and unite to battle the big powerful Klan.

    • Replies: @Barnard
  43. backup says:

    O dear. Spike Lee buys into the Black Athena nonsense. For the Vanity Fair link:

    In the cab on the way to DeKalb Avenue in Brooklyn—where his home and his motion-picture company and his record company are—he commands me to put on my tape recorder. “Cleopatra was black,” he tells me. Hmmm, I say. (Do I know?) “Black people still think that Cleopatra was white because they saw Elizabeth Taylor. White people went through the devious thing of trying to separate Egypt from Africa and all those great accomplishments, they didn’t think blacks did it. I was on a talk show, Julie London, somebody like that.” (Joan Lunden, he means.) “‘Spike, so you just came back from Egypt and Africa …’ I say, ‘Wait a minute, Egypt is in Africa.’ ‘Oh, you know what I mean,’ she says. It’s not about what you mean, because in certain people’s minds Egypt is not a part of Africa, and there’s a reason for that, because Egypt is the cradle of civilization, and if Egypt is black and the cradle of civilization, they don’t want to hear that…”

    • Replies: @Peasant
    , @Peasant
  44. Steve, why do you, and others, continue to support a film industry that hates you and your family?

    Here’s a neat trick. Go to any search engine like DuckDuckGo and type – watch (name of movie) online. You will be directed to some fabulous websites where you can watch anything you want, new or old, for free from the comfort of your home. And no, you won’t get caught. This is something that anyone under 20 and just about everyone in Asia does all the time.

    If you type something brand new and very popular, you will get a lot of scam sites, so start off by searching for something older and/or somewhat obscure, let’s say Breakfast at Tiffany’s

    Once at a site that shows this, you’ll probably find just about anything else you’re looking for. I’d link to the sites I use but I don’t want to blow their cover.

    Stop supporting hate!

    • Agree: TheBoom
  45. Anon[202] • Disclaimer says:

    What they also used to do in Bollywood was to write the script on-set as the movie was being filmed. They’d start out with a rough idea and hire dialogue writers to fill it in.

    Interesting information about Fellini, thanks.

    • Replies: @utu
  46. bomag says:

    Why preach to us about justice when Lee’s ultimate consciousness is ‘blacks must stick together?’

    What sticks out in Spike Lee-type movies is that Blacks are presented as wholly developed and not in need of changing, while the White characters are expected to conform and adjust to accommodate.

    Pretty much a reflection of modern politics.

    I heard Gene Siskel praise Lee by calling him a “genius of marketing”. Withstanding the overuse of “genius”, I found it a strange compliment for a director, but I guess it was a way for Siskel to say something nice without speaking to the particulars of the movie.

  47. Barnard says:

    Italian and Irish immigrants to New York City would have been competing for jobs with blacks. It isn’t a surprise that lingering resentments would last between these groups for decades. I’m guessing the decline of little Italy is why you don’t hear as much about these problems today. The Italian ethnic identity is starting to fade plus blacks are focused on conflict with whites in general not a specific group.

  48. @Anon

    Tarantino made Lee feel like Jeb Bush after Trump got all the love.

    Spike Lee: “Please clap.”

  49. @Hail

    Undercover Brother was anti-White, plain and simple. I wonder how many seeds of doubt on the glories of multiculturalism and the Noble Negro myth were planted in White minds by that movie.

    It’s been quite a while since I’ve seen it, but my recollection is that it lampooned blacks and their conspiracy mongering. Perhaps it worked on both levels though.

    What I found strange was the running demonization of mayonnaise, since the blacks I’ve known over my life have featured it in various of their “salads” such as potato salad and macaroni salad.

  50. Mr. Anon says:
    @Dave Pinsen

    Troy was very good.

    It was awful. A story from greek mythology with the Gods stipped out, and lumpen-cynic “Game of Thrones” style real-politik added?

    I would rather watch Ray Harryhausen’s Jason and the Argonauts – it was a better movie. And it had sword-fighting skeletons!

  51. Mr. Anon says:

    I’m willing to bet that the number of Jews on the Colorado Springs police force in the 1970s was identically zero.

    And why is it okay for policeman to infiltrate a private organization? Isn’t that kind of a police-state tactic?

    For Lee’s next “joint” (whatever the hell that is supposed to mean), how about a movie about the Crown Heights riot? Or about Freddie’s Fashion Mart?

    • Replies: @Jack D
  52. @Anon

    Aww, man, that Duke interview is 3 hours. Anyone want to summarize for those of us with no such time on our hands?

    • Agree: bomag, Tono Bungay
    • Replies: @ThreeCranes
    , @ThreeCranes
  53. drawbacks says:

    I’ll watch any movie about a black undercover operative as long as there’s a “the jig is up!” joke at some point.

    FWIW, I usually nod along when I read about Spike Lee continually playing the “racism!” card to advance his career, but when I actually read/watch Spike on the subject I find him fairly convincing.

    Also, Summer Of Sam (mostly about “Spike Lee’s second favorite ethnic group” — Mark Steyn?) is pretty good, although not very subtle.

  54. There’s a Simpsons Halloween episode where Homer and Bart get put on a rocket to the sun with some of the worst people on Earth. Most are typical targets of that era — Dan Quayle, Tonya Harding, Dr. Laura, Pauly Shore — but one of the “worst” is Spike Lee! I thought, wow, it was daring to put an idolized black person in that group. Then I remembered that he had offended the Jews.

    • Replies: @njguy73
  55. Undercover Brother looks like a scream, ten times more interesting than KKKlansman, which even the trailer can’t make look anything except slow, turgid, and obvious, with a dreadful score.

    Why doesn’t someone re-release Undercover Brother? I’d see it at the drop of a hat.

    • Replies: @jim jones
  56. Pat Boyle says:
    @Dave Pinsen

    Mr. Pinsen is right. Troy was good. But it had a few flaws.

    When you read Suetonius for example at some point your head reels. He actually believed in all sorts of things that no modern anywhere would. Read the same Claudio-Julian history by a modern writer and you don’t get the same experience.

    The problem with making a movie about Homer is that his story is full of gods and spirits. The film makers dropped all the gods and thereby made a much different story. It’s an interesting screenplay but it isn’t really Homer.

    The next problem is scale. The movie city of Troy is too big. We have Hisarlic. We know how big it was. The conflict on the screen is too short in time and too many in combatants. Of course there were no Hoplites yet either. The military formation at the time was the melee not the phalanx.

    And the extras in the movie have too much equipment. The whole confusion of Achilles and Patroclus makes sense only because armor was rare. When I first saw it I was shocked when they killed off Agamemnon in one of the later reels. It’s like a movie about George Washington where he gets shot and dies in French and Indian War. You would think that Agamemnon and his subsequent fate would be well known enough for this death scene to have been never considered.

    But all these issues aside, it’s a superior film and Pitt is great.

    • Replies: @Alfa158
  57. Pat Boyle says:

    This is a very long and scholarly posting. Unfortunately since I never watch Spike Lee movies I don’t get many of the references.

    I thought he had just faded away.

  58. Who is parodying whom?

    Indeed. The overall demise of self-awareness seems most acute among negroes today. It’s as if they’ve completely swallowed the media Kool-Aid about their unparalleled intellectual prowess and moral superiority. How this is possible while living in majority illiterate environs like Detriot, St Fooey, Scary Indiana, Banginhim Alabama, and Rubble (Flint – get it?) Michigan is a mystery for the ages..

  59. @TGGP

    And does anyone today really think Driving Miss Daisy is a better film than Do the Right Thing?

    Well, it does make for better memes. Driving Mrs Feinstein is hilarious.

  60. Antonius says:

    Don’t get me started on the modern “Clash of the Titans”

    • Replies: @Anon
  61. Alfa158 says:
    @Pat Boyle

    Very simply, Troy was not a filmed version of Homer’s Iliad. The Iliad was composed something like 140 years after the purported seige of Troy, almost the time from the American Civil War to now, and carried forward orally for centuries before it was written down. The historical accuracy of the event ever having happened at all is still somewhat unsettled. And of course, since the Iliad contains supernatural beings and events it is not any kind of history, but a mythological mix of legend and maybe history. Myths have no fixed storyline, but vary by place and time, see for example the version of a mythical Achilles who is physically invulnerable except for his heel, unlike Homer’s version who is more like a modern action movie hero. Not invulnerable, just so much stronger and faster than other men that he can mow them down in battle.
    So, I liked the movie but just regard it as an another alternative version of the mythical Trojan war, a cracking good story like Homer’s Iliad, but not the same story.
    BTW, if anyone is interested in reading the Iliad I highly recommend the newer translation by Robert Fagles. He avoids doing a too word-for-word, literal, translation and creates his own beautiful work of poetry. Same with his translations of The Odyssey and The Aeneid.

    • Replies: @ChrisZ
    , @vinteuil
  62. George says:

    Usually box office mojo compares opening weekends of similar movies, but not this time, so I did. Undercover brother had a substantially higher budget, which was reflected in the better soundtrack, but a similar opening weekend results. Spike Lee got an incredible amount of hype for a ‘small’ film so it will be interesting to see if there is a quick fall off of box office or if makes a mint by getting close to UB’s $40M worldwide revenues. IMO Hollywood budget and revenue numbers are to an extent worked to make the film seem bigger or smaller than it really is.

    Undercover Brother 2002:

    Worldwide: $41,604,473
    Opening Weekend: $12,037,685
    Budget: $25M from Wikipedia

    BlacKkKlansman 2018:

    Opening Weekend: $10,845,330
    Budget: $15M

  63. “…Spike’s abiding hatred for white women, which traces back to his fury at his white stepmother.”

    His “white” stepmother is (((Susan Kaplan))).

    • Replies: @Fred Boynton
  64. Jack D says:

    Lee’s stepmother is a special kind of white – her name is Susan Kaplan.

  65. Alfa158 says:

    I thought BlackKKKlansman was going to be a full length movie version of Dave Chapelle’s hilarious skits on the Black Klansman who was blind and therefore didn’t know he was Black. Those skits were the funniest thing he ever did, but pretty much killed his television show because Blacks found them so offensive. If it’s just another tedious Spike Lee (lecture) joint then I’m not even going to bother.

    • Replies: @Jack D
  66. Truth says:

    Wow, you’ve thought about Spike Lee a lot.

  67. Jack D says:

    There are millions of people who are bilingual in Hindi and English so I see no reason for bad translations. If you want to see bad translations you should look at anything translated from Chinese to English, like any Chinese product ever.

    What is true is that it is a Bollywood convention that the actors on the screen are almost never the people who are singing (and unlike American movies, they make no effort to hide this). There are a handful of famous Bollywood “playback singers” who are stars in their own right and some of whom are now quite old and fat, but no one has any problem using their voice for some 25 year old starlet:

    who gets a Wikipedia page longer than some US Presidents.

    • Replies: @Anon
  68. Arclight says:

    Lee’s movies usually start out pretty entertaining but about 2/3 of the way through sort of lose the plot and just kind of wheeze to the finish. I expect that is probably the case here.

  69. Jack D says:

    Driving Miss Daisy was kitsch but it was enjoyable kitsch. It’s like eating junk food – you know that it is junk but it has a certain tastiness that makes it easy to finish the bag of cookies.

    Do The Right Thing OTOH was tedious.

  70. Jack D says:
    @Steve Sailer

    I think in the last census there were zero Italian born people living in Little Italy. Street level businesses and especially institutions such as churches tend to lag behind population change (especially outside of black ghettos which tend to chase away everything) so even if there are no Italians left upstairs there are Italian businesses and institutions downstairs decades after the last Italian has left.

    • Agree: Dan Hayes
    • Replies: @Reg Cæsar
  71. @Steve Sailer

    On the Taki’s site, the link to the NYT story about his anti-semitism is actually to his reply; so there are two links to the same thing. Incidentally, his retort to the anti-semitism charge is very nicely done, I think.

  72. Jack D says:
    @Mr. Anon

    And why is it okay for policeman to infiltrate a private organization? Isn’t that kind of a police-state tactic?

    What if the private organization is Al Qaeda?

    • Replies: @Mr. Anon
  73. Anon[202] • Disclaimer says:
    @Jack D

    India had almost no pop music per se outside films for a very long time so the tiny handful of people in each language who wrote, composed, arranged, and sang Indian movie songs had a ridiculously outsized influence.

    As for subtitles, they are generally of workmanlike quality, except for songs, when the subtitlers just give up. But you will enjoy this page:

    Sometimes even song subtitles are okay, but sometimes they are definitely not, as in the dreadful train-wreck below:

    The song doesn’t actually start till 0:43. Yes, it’s Tamil not Hindi, but it’s complete with incorrectly rendered English of all things.

  74. res says:

    Spike outlined his one-man campaign against miscegenation: “I give interracial couples a look. Daggers. They get uncomfortable when they see me on the street.”

    So what would be the reaction if a white movie director was on record as saying this?

    • Replies: @Hail
    , @Jack D
  75. danand says:


    Is it true that Spike Lee hates race mixing and is against “miscegenation”?

    Should Spike Lee Griswold be grateful his ancestors did not feel the same way?

  76. Hail says: • Website

    Spike outlined his one-man campaign against miscegenation: “I give interracial couples a look. Daggers. They get uncomfortable when they see me on the street.”

    This was from an interview with Esquire, published October 1992.

    Spike Lee had turned 35 earlier that year and was unmarried.

    The next thing he says in the interview:

    White women who go out with black men are “muggy.” He [Lee] quotes one of his characters: “‘Most black men don’t be having no Penthouse pets, they be having outhouse pets.’” Not the kindest thing he could have said under the circumstances. “And they have nothin’ going for them, nothin’. Doesn’t matter what she’s doing, what she’s about, she’s just there, and you have a prize—a white woman on your arm. A trophy. Sick.”

    But wait! A twist: It turns out Spike Lee was, at time of interview, dating a very light-skinned Black woman, whom he then married.

    Lee met his wife, attorney Tonya Lewis, in 1992 and they were married a year later in New York.[24] They have one daughter, Satchel, born in 1994, and a son, Jackson, born in 1997.[25][26]

    While technically Tonya Lewis is Black by U.S. standards, she clearly has major White ancestry, making Spike Lee arguably a hypocrite.

    More on their romance:

    Tonya met Spike in 1992 at a Congressional Black Caucus dinner.

    In a 2004 interview with Avenue Magazine, Tonya said, “We walked past each other. He circled back around and proceeded to give me the third degree. ‘Are you an actress? A model? A singer? Who are you here with? What do you do? Do you have a boyfriend?” Spike was there promoting ne of his acclaimed films, Malcolm X, which starred Denzel Washington.

    Black Caucus? She must be Black after all.

    • Replies: @Jack D
    , @Forbes
  77. Near the end of the KKKlansman trailer the words “America first” are uttered in the Klan meeting depiction. Obviously a jab at The God-Emperor.

    Wasn’t that phrase more of a John Birch Society phrase than a KKK phrase, back in the day? I never got the impression the klan guys had much awareness of things outside the USA.

    The JBS OTOH was all about CPUSA, KGB, et al infiltration, which we now know as the Left’s long march thru the institutions. Joe McCarthy was under-appreciated.

    Whatever prior use of “America First” may exist, I’m down with that phrase in our time now, brothers and sisters.

  78. How difficult is it for the multitudes of FBI informants and undercover FBI-agent KKK members to find any real, actual KKK members?

    • Replies: @fish
  79. jim jones says:
    @Charlotte Allen

    Undercover Brother is on The Pirate Bay

  80. Jack D says:

    It’s interesting that their daughter is “high yaller” like her momma and their son is brownish like Spike (OTOH, lucky for Spike, Jr. he is tall like his momma). It’s not unusual to see black families with kids that are various shades of brown, but I always assumed it was because there were different baby daddies.

    Back in the days when it didn’t pay to be black, sometimes there was one sibling who was white enough looking to “pass” and others that were darker and one of the prices of crossing the color line is that you had to cut yourself off from your black relatives.

    Nowadays it is the opposite – Princess Meghan Markle had her black mother at her wedding but not her white father.

    • Replies: @Hail
  81. Anonym says:

    I am not sure she is much blacker than Rachel Dolezal.

    Spike Lee may hate his father’s wife but he has 50% of his Dad’s DNA so I don’t know if it is hypocrisy. Kaplan eh? Where is Tiny Duck when you need him.

  82. Steve

    “Opening The Overton Window”….Is that your head sticking out of the Sag Harbor Windmill on the Sag Harbor dock?

  83. Jack D says:

    For the millionth time, racism does not have a commutative property in our society. The excuses for why this is so are very thin and bogus, but that doesn’t take away from the reality that in our society black people (and black wanna-be’s like Asians) have license to say stuff about whites that white people can never say about blacks.

    It is pointless to keep pointing this out because it is a well accepted social convention. It would be like pointing out that in the old South white people used to call full grown black men “boy” but black men had to call whites younger than themselves “sir”. Until the social conditions changed so that this was no longer possible, you could have pointed it out until you were blue in the face and people would have just shrugged their shoulders and given you some lame excuse for why this was legitimate in their society.

    • Replies: @vinteuil
    , @res
  84. Jack D says:

    Chappelle said that he quit because he realized that the white crew members on the show were laughing a little too hard at his jokes that portrayed blacks in an unflattering light.

  85. Art Deco says:

    Nowadays it is the opposite – Princess Meghan Markle had her black mother at her wedding but not her white father.

    Because her mother and her maternal-side relatives kept their mouths shut. Her father and brother had public meltdowns, her sister was issuing anathemas against her, and her brother’s children (one of whom is employed as a dope-grower) elected to travel to London with her quondam sister-in-law to live blog the event. One of her paternal side uncles (and his family) kept quiet. Another politely complained she hadn’t invited him (he’s a retired FSO, so might have been a better choice than her father to handle the ceremonial). I think she did invite two paternal-side nieces (or were they cousins?).

    • Replies: @Glaivester
  86. Barnard says:

    I don’t know why Lee or anyone else would think the story the movie is based is compelling. Any viewer able to watch it with the slightest bit of objectivity would realize the Klan was already a meaningless organization by the late 1970s. Ron Stallworth claims they thwarted cross burnings and rallies and that the Klansman talked about stealing weapons from Fort Carson and bombing a couple of gay bars. Yet the nine month investigation yielded no arrests. Assuming Stallworth is telling the truth, imagine what the planning on stealing weapons from Fort Carson must have been like if it didn’t even rise to the level where they could make an arrest:

    Klan loser #1: “You know what would be awesome, we should steal some weapons from Fort Carson.”
    Klan loser #2: “Yeah that would be awesome.”
    Klan loser #1: “Damn, we’re out of beer. Let’s go get more.”

    The message to take away is that the government at all levels of law enforcement wastes a lot of time and resources on meaningless operations like this, while inadequately investigating groups and people that are likely to conduct violent attacks.

  87. Warner says:
    @Steve Sailer

    Correct! That’s my parish! Wish I would have bumped into you.

  88. fish says:
    @Sarah Toga

    How difficult is it for the multitudes of FBI informants and undercover FBI-agent KKK members to find any real, actual KKK members?

    Ahh……excellent question! The “Real” Klansmen generally aren’t the ones suggesting burning a cross on somebodies lawn (especially during the period leading up to congressional appropriations discussions)!

  89. @Anon

    That was a great breakdown of why Spike Lee is pretty mediocre. Scorsese has always been my favorite of all time. However I have to disagree about Tarantino being overrated. I’m not a fan of everything he does but Pulp Fiction and Jackie Browne are movies I can watch over and over and still enjoy.

    Have you (or anyone reading this) seen Bamboozled? I think that’s one of Spike Lee’s most overlooked works. I really don’t enjoy him but I loved Bamboozled. There’s some great performances and hilarious (though not PC) moments. It’s his only film I can think of where Spike takes a critical lens to Black culture, which may be why it’s overlooked.

    Also, this was pretty great.

    • Replies: @ThreeCranes
    , @Anon
    , @Glaivester
  90. njguy73 says:
    @Tom Scarlett

    In 2000, if you had told me that in less than two decades, Mark McGwire would be a pariah and Tonya Harding would be the subject of an acclaimed biopic showing her in a sympathetic light, I would have laughed. And right now Tom Arnold is accepted in polite society while his ex-wife isn’t.

    For all anyone knows, in 2038, Andrew Cuomo will have a memorial on the D.C. Mall and Colin Kaepernick’s name will be scrubbed from the NFL annals. Amy Schumer will win her third Best Actress Oscar in a ceremony at the Spike Lee Pavilion, and Lin-Manuel Miranda will be hosting the Brooklyn (formerly Hollywood) Squares.

    The only thing that can shock me anymore is if things stay the same.

  91. @attilathehen

    I was going to say that while Spike Lee has been a celebrity throughout my adult life, this is the first time I have ever heard that he had a White stepmother. Now that I see that she’s a (((white stepmother))), it makes a lot more sense that I never knew about this previously.

    I’d love to know what his (((white stepmother))) thought about the portrayal of her kinsmen in Mo’ Better Blues.

    • Replies: @attilathehen
  92. Anonym says:

    Spike Lee is something like a Michael Bay. He produces something that a market segment is willing to pay for.

  93. songbird says:

    That is kind of funny that Adam Driver plays a Jew. That the casting director probably selected him for the role.

    He has kind of an odd face. A bit discordant with his role in Star Wars, which was the son of Harrison Ford and Carrie Fisher. It’s easy to think he was selected for his odd face in that movie too.

    • Replies: @Steve Sailer
  94. DFH says:
    @Prester John

    The Fritz Lang version of the Odyssey in Le Mépris looked pretty good, shame it doesn’t really exist

  95. ChrisZ says:

    I approached the film “Troy” cautiously, especially as regards an Achilles played by Brad Pitt. But his performance was persuasive, and I ended up liking him in the role quite a bit. As Alfa notes with regard to the overall story, the film does NOT portray Achilles fully as he appears in the Iliad, but presents a perspective on the character, and a mostly truthful one.

    One of the best features of the film is the way it reveals Achilles’ character through the way other characters react to him: the Greeks seeing him as a force that cannot be controlled, but only unleashed on an appointed enemy; the Trojans (especially Hector) stupefied by his uncanny capacity for destruction.

    Relatedly, one of the most insightful books I’ve encountered about Achilles is “Achilles in Vietnam,” written by a specialist in post-traumatic stress disorder among Vietnam vets. I’m surprised I’ve never seen it mentioned on this site.

  96. Anon[425] • Disclaimer says:

    That sucked but got pretty good reviews.

    JASON AND THE ARGONAUTS is sort of okay. And the original 300 SPARTANS is tolerable and has its moments. The remake is insane. Action movie on PCP.

    Cacoyannis did pretty well with Elektra, Trojan Women, and Iphigenia. He could be pretty good with actor but he was a crude stylist. Pasolini tried to something interesting with Oedipus and Medea, but I don’t think he made a good movie after Mama Roma.

    The once-great Konchalovsky did a botch-up job with Odysseus.
    The one with Kirk Douglas is not terrible.
    Maybe Franco Rossi’s version of the Odyssey has some merit.

    For my money, the best Ancient-Greek themed movie is the filmed play of OEDIPUS REX.

  97. @John Burns, Gettysburg Partisan

    Eat more meat, less sugar.

    Mostly a summary of a lot of what is discussed here and on other like sites. Reveals that Duke is not a dupe, dope, dink or devil. He is amenable (to reason), agreeable, affable and able.

  98. @Spitshine Tommy

    “but Pulp Fiction and Jackie Browne are movies I can watch over and over and still enjoy”

    Jackie Browne based on Rum Punch, written by the immortal Elmore Leonard.

    Many people are shocked! when they find out that Leonard, besides having written some of the most clever, readable modern crime stuff also wrote Hombre (you remember, the movie with Paul Newman and Richard Boone?).

    Grimes: Mister, you’ve got alot of hard bark on you walkin’ down here like this. Now, I owe you. You put two holes in me.
    John Russell: Usually enough for most of ‘em.
    Grimes: Don’t try it again, that Vaquero is more than a fair hand.
    Grimes: You got the money?
    John Russell: Guess I brought my dirty laundry down by mistake.
    Grimes: Let me see it.
    John Russell: Look for yourself.
    Grimes: [opens bag, pulls out a handful of clothes] Well now, what’ya suppose hell’s gonna look like?
    John Russell: We all die, just a question of when.

  99. @Steve Sailer

    Not Our Lady of Perpetual Motion?

  100. @John Burns, Gettysburg Partisan

    Actually, it’s Duke’s take on the Spike Lee movie Steve is reviewing here. He claims that the movie is a complete inversion of the truth in its depiction of him, the Klan and his involvement with the Klan. He claims the Jewish writers introduce antisemitic themes into the movie that were not present in the book upon which the movie was based. He talked to the author on the phone who confirmed that he had, indeed, not included any reference to semitic themes in the original book.

    So, ironically, concludes Duke, it is the Jewish authors who are racist, having distorted the entire plot of the book so as to make the white ethnonationalists appear as antisemites.

    There’s more but I didn’t see the movie so I’m not qualified to speak about it. I think, but am not sure, that Duke says that in the book it wasn’t a black guy infiltrating the Klan, but a white one. But Hollywood being what it is, had to spike the punch and introduce darkies and all, so the more or less inevitable plot follows.

  101. @anonymous

    Yep. That’s why we read Sailer. For the accuracy of his linkage….

  102. I realized I stopped watching Hollywood movies after seeing “Runaway Jury” in 2003, when I found myself rooting for the nominal bad guys.

  103. …Spike’s abiding hatred for white women, which traces back to his fury at his white stepmother.

    Andrew Kehoe also hated his white stepmother. When she had an accident in the kitchen, he stood by and watched her burn to death.

    Lee’s unwatchable movies are preferable to Kehoe’s self-remedies:

    The 1927 Bombing That Remains America’s Deadliest School Massacre

  104. @Jack D

    My great=grandmother was born and baptized on E 28th St in 1890, and likely also married there in 1905, and I was able to get records from the church in this century.

    Oh, and her marriage certificate stated she was 18.

    …even if there are no Italians left upstairs there are Italian businesses and institutions downstairs decades after the last Italian has left.

    On E Lake St in Minneapolis, where Mexico-meets-Somalia-meets-Lakota Sioux, Ingebretsen’s Scandinavian market still thrives. Nearby is Mindekirken, a surviving Norwegian parish, with at least one Norwegian language service every week. Of course, everyone has to park Sunday mornings because they’re old and live far, far away.

    That’s true of my old Austrian Catholic church in St Paul, too. They brag that the school draws from 37 Zip Codes. I wonder if that includes their own! Though there is a nascent Chestertonian movement back into the neighborhood, where that school is the best for miles around.

  105. David says:

    Aristotle can in part explain an inevitable problem with the unnecessarily bad movie, “Troy.” From Poetics:

    the poet should remember what has been often said, and not make an Epic structure into a Tragedy—by an Epic structure I mean one with a multiplicity of plots—as if, for instance, you were to make a tragedy out of the entire story of the Iliad. In the Epic poem, owing to its length, each part assumes its proper magnitude. In the drama the result is far from answering to the poet’s expectation. The proof is that the poets who have dramatised the whole story of the Fall of Troy, instead of selecting portions, like Euripides… either fail utterly or meet with poor success on the stage.

    • Agree: Autochthon
  106. David says:
    @Prester John

    Euripides said his plays are slices from Homer’s banquette table.

  107. @Anon

    ‘Is it true that Spike Lee hates race mixing and is against “miscegenation”?’

    I’m surprised it’s necessary to point this out: Spike Lee himself is obviously a product of race mixing.

    Look up his image. You’ll have a hard time finding many pure Africans who look like that.

    • Replies: @Unladen Swallow
  108. Dumbo says:

    Very good comment (and previous comments too), you should do a blog about cinema, I would read it.

    Agree about Tarantino and his bad influence on young directors, never liked him, yes he’s talented for certain things but in general he’s too cartoonish for me, I think actually Jacky Brown was the one I liked best, and some parts of Pulp Fiction. Other films such as Inglorious Basterds have a few well constructed scenes and a great performance by Waltz, but the overall film is really bad, hateful even.

    What I don’t understand about Coppola is how he went from doing two masterpieces (Godfather I and II) and other great if flawed films, to basically forget how to do movies, almost all the ones he made after Dracula were really bad (I couldn’t watch), and it’s not a question of production values, they’re just not interesting. And Godfather III is basically a parody, with absurd scenes and characters becoming psychologically the opposite of what they were in the previous films (i.e. Michael’s sister).

    Scorsese also peaked arguably with Goodfellas and never did anything as good, but he still can do reasonably good films now and then, Silence was not bad, and even his bad films are rarely totally bad (i.e. Gangs of NY is bad, but has a great character, performed by Daniel Day Lewis).

    Spike Lee peaked with DTRT, really, I don’t think he’s very good in general, he’s promoted just because he’s black, mostly. There’s a very low bar for black film-makers, I mean also Jordan Peele’s movie was pretty mediocre, and still the critics raved about it. But I didn’t watch 25th hour which some say is good. Maybe if he did less films about blackness he would be better.

  109. donut says:
    @MEH 0910

    The funniest line from “Police Squad” :

  110. vinteuil says:

    Thanks for the Do-the-Right-Thing clip. I’ve never seen it, and now I know I never need to. Truly cringe-inducing.

  111. @Fred Boynton

    I read something several years ago that he had a white stepmother and he did not like her. I didn’t know that she was Jewish. After noticing the high intermarriage rates of Jews with blacks/Asians, I now always try to find out if the “white partner” is Jewish. The “white partner” usually is Jewish.

    I’ve never seen a Spike Lee film. I have no interest in black films. The only films with non-whites that I will watch are the old Godzilla movies. They are kitschy and fun because of the English dubbing. So as to the depiction of Jews in the movie, I don’t know.

    But your comment brings up something interesting. The golden age of Hollywood was from the 1930s to the mid-1960s. The Hayes Code and the Catholic Legion of Decency still controlled how movies were produced even though Jews owned the studios. I’m sure you know that interracial, Jewish nonsense was kept out of most movies. Now, that anyone can make any kind of film they want, it’s interesting how movies are still very “segregated.” I’ve noticed when there is a multi-culti cast, it’s in weird movies where the non-whites can wear costumes or are cartoon characters.

    Spike Lee’s issues stem from the fact that he does not like being black.

  112. @Colin Wright

    Black radicals are very often a lot more white than the black population is generally, look at photos of the Black Panthers.

    • Replies: @Jack D
  113. Forbes says:

    In NYC metro area, there still are plenty that make the distinction between being Sicilian and Italian. I know several who will correct you if you refer to their heritage as Italian. They are not–they’re Sicilian. And of course, Wikipedia will redirect you to ‘Sicilian Mafia’ if you search on ‘Italian Mafia.’

    • Replies: @Steve Sailer
  114. Mr. Anon says:
    @Jack D

    What if the private organization is Al Qaeda?

    They shouldn’t be here in the first place.

  115. Forbes says:
    @The Wild Geese Howard

    My Italian buddy in Tuscany refers Sicilians as “really good swimmers.”

  116. Jack D says:
    @Unladen Swallow

    Two reasons:

    1. People who are 100% black don’t have anything to prove. If you are 80% white, you may be uncertain about your identity and in order to prove your blackness, you act 110% black.

    2. Mixed race people are, on average, more intelligent that pure African-Americans. It’s not just black radicals, it’s anything in the black community that requires high functioning. Black congressmen, the lady whose calculations allowed John Glenn to orbit, etc. – they are all on the yaller side.

  117. vinteuil says:
    @Prester John

    Has anyone tried their hand at doing a movie version of Virgil’s “Aeneid”?

    Not that I know of, but a couple of big chunks of the Aeneid provided the libretto for the greatest of all French operas – Berlioz’ Les Troyens.

    It’s the only case I know of where great epic poetry was successfully converted into great drama.

  118. Anon[425] • Disclaimer says:
    @Spitshine Tommy

    I’m not a fan of everything he does but Pulp Fiction and Jackie Browne are movies I can watch over and over and still enjoy.

    Everyone is a repulsive psycho in PULP FICTION. Utter moral zombies, and Tarantino glibly laughs along, something he didn’t do in RESERVOIR DOGS. And there is a distance between the thugs in GOODFELLAS and Scorsese the artist. While Scorsese doesn’t preach, he honestly portrays that these people are capable of. So, even though the gangsters in GOODFELLAS can sometimes make us laugh with their antics and funny talk, when someone is shot or stabbed, it is a grim moment. It is real. Jokes stop… or only continues with the psychos while we feel aghast. Like when the fellas are talking and laughing but then Tommy drives an ice pick into the neck of Morrie. It is gruesome. Tommy continues to joke, but we are reminded of what kind of people belong in this world.

    But in PULP FICTION, we are made to laugh along with the gruesome violence. Jackson and Travolta walk into an apartment and just shooting someone. There in no sense that someone got shot dead. He’s utterly expendable. (Even though scumbags mostly die in GOODFELLAS, we do feel the sense of what it’s like for someone to get killed.) But the focus in only on the amusement. There are other scenes like that, but we are supposed to laugh like retards. Some guy gets his brain blown out and splattered all over the car. It’s a ‘whoops’ moment. Just a ‘mistake’, what Obama called his crime against Libya. We get an extended joke about t-shirts with Tarantino and Keitel. Now, the scene is not without humor, and there are some funny things in the movie. But I would feel sick in my stomach going along with the joke.
    Also, if Tarantino is such a nihilist who loves to indulge in torture and gets a kick out of mayhem, how can he pass judgement on anyone in the movie? So, we end up with something like Rules for Nihilists. Jackson’s ‘morality’ is some pop-existential con-job based on the feel of the moment and voodoo jive. Indeed, what was most repulsive about Tarantino’s babbling about slavery, John Ford being a ‘racist’, and police brutality is that his own sensibility is that of a sadistic psychopath. The jerk looks like a cross between the Alien monster and John Cazale. Do we really need Tarantino commenting on WWII and Slavery? Too bad Charles Manson didn’t go into film-making. Maybe he could have been an authority on the evils of communism.

    And there is one particular scene in JACKIE BROWN where Bridget Fonda annoys Deniro over the parking slot, and he pulls out a gun and bang, and Tarantino’s attitude is ‘shit happens’. I didn’t see the whole movie but just enough to feel upset by the zombie mindset behind the whole thing.

    RESERVOIR DOGS is filled with bad guys, but only one guy is a real psychopath, and what makes the movie so riveting is the saner guys trying to come to terms with the psycho. In a way, their struggle with the psycho is a conflict among men but it’s also an inner-conflict. They know they’re bad men in a dangerous business, BUT they want to believe there’s a line they won’t cross. They would never do what the psycho did: shoot innocent people in cold blood with zero remorse, or that’s what they’d like to think to hold onto a modicum of humanity.
    And yet, irony of ironies, the psycho was the most loyal guy in the crew. In a demented way, he has his own code that he never deviates from. Now, one such psycho makes a movie interesting. But in PF and JB, it seems everyone is a version of Mr. Blond.

    Have you (or anyone reading this) seen Bamboozled? I think that’s one of Spike Lee’s most overlooked works. I really don’t enjoy him but I loved Bamboozled.

    No, I haven’t seen that. I pretty lost interest in Lee after 25th Hour, which was okay.
    I heard about it. My ‘racist’ friend said he saw it in a theater full of negroes and laughed his brains off. His wife tried to stop him laughing because blacks were looking at him like they wanted to whup his ass.

    I think BAMBOOZLED is Spike Lee vs Eddie Murphy.
    To an extent, I can understand where Lee is coming from. His gold standard of black manhood is Malcolm X who had a troubled childhood and dabbled in all kind of vices, even prostitution and drugs, but cleaned himself up and learned to think for himself, even against his mentor Elijah. So, if Lee wants more a culture of dignity and seriousness among blacks, that’s not a bad thing.
    Lee also knows how blacks were often the objects of humor by whites. And it was sometimes dehumanizing. If whites were laughing WITH the Marx Brothers, they were laughing AT Steppin Fetchit. So, there is something about Lee that goes back to Booker. T. Washington and Dubois. The bourgeois sensibility.
    He found people like Eddie Murphy too over the top. Too low and crude, too eager to do ANYTHING to gain attention from whites when, in fact, they were just laughing AT him. (It seems Chapelle quit comedy when his mentality went from Murphyism to Lee-ism. He realized whites were laughing AT his caricatures about blacks.) Because Lee is more historically conscious than most blacks, he’s prone to see current black pathology in the larger historical context. He sees many black comedians as just replay of minstrel shows.

    But Lee isn’t entirely honest. For one thing, his Mars character was a goofy stereotype. SHE’S GOTTA HAVE IT, a movie I saw in a theater filled with cackling and hollering Negroes, is filled with crude stereotypes. Also, ‘extreme’ behavior seems to come naturally to blacks. After all, DTRT has Buggin Out and Raheem, two walking stereotypes. So, maybe white stereotypes of blacks weren’t just a wild invention but partly grounded in reality.
    Also, with all the freedom, blacks have been reverting(without any input from whites) to jungle behavior with rap thuggery and stuff like twerking. So, maybe history of ‘racism’ cannot explain everything about blacks.
    Now, Lee may defend something like Public Enemy even if it was a rap band made up of black stereotypes — loud, loutish, crude, rude, nasty, hostile — because it was empowering. It was about black stereotypes scaring white folks than making them laugh. Still, rap thugs are stereotypes just the same, no less than punkers and metal-heads. It’s all so stupid and childish.

    The Lee vs Murphy debate goes back to black feelings about Louis Armstrong. Even though many blacks admired Armstrong, some of them felt that he did too much of the smiling ‘coon’ thing to appeal to condescending whites who tended to treat him with amusement than real admiration. Miles Davis consciously carved his mystique of cool in opposition to Armstrong’s ‘eager to please’ sensibility. Davis had great admiration for Armstrong but hated the public image of him.

    Given the Springer-Stern-Murphy-Chappelle-and-etc vulgarization of the culture, Lee’s stand in favor of more dignity and self-respect is not a bad thing. With even elites with green hair and tattoos, there is too much trashiness and stupidity. That is also why Lee supported the Million Man March. That’s all very good.
    But then, Lee bitches about how it’s terrible for whites to expect blacks to be nice quiet neighbors. Blacks have a right to be noisy and shit and tell white gentrifiers to go to hell. “Being loud comes naturally to us, honkey.”
    So, when push comes to shove, Lee is also with Let the Good Times Roll.

    Lee is sort of like George Jefferson. There is pride in being a successful Negro who made something of himself. He made it into the white world, and he wants other blacks to put aside their jive-assery and make something of themselves. But his consciousness is so blackity-black that he feels he must make a conscious effort NOT to merge with whiteness. He wants to enter the castle but keep the distance.

    • Replies: @Jim Don Bob
  119. Anon[257] • Disclaimer says:

    I know you’re a movie reviewer Steve, but why even acknowledge a movie by the anti White racist POS Spike Lee?

    • Replies: @Truth
  120. vinteuil says:

    I highly recommend the newer translation by Robert Fagles. He avoids doing a too word-for-word, literal, translation and creates his own beautiful work of poetry. Same with his translations of The Odyssey and The Aeneid.

    Fagles is terrific – he keeps things moving along swiftly in natural modern English.

    For the more high-flown bits (above all, Achilles’ great speech in Book IX of the Iliad), it’s Lattimore who brings tears to my eyes.

  121. Forbes says:

    Curiously, Satchel is the given name of Woody Allen and Mia Farrow’s son (b. 1987), Satchel Ronan O’Sullivan Farrow.

    I’d go by Ronan too.

    • Replies: @Hail
  122. vinteuil says:
    @Jack D

    …in our society black people…have license to say stuff about whites that white people can never say about blacks.

    It is pointless to keep pointing this out because it is a well accepted social convention…Until the social conditions changed so that this was no longer possible, you could have pointed it out until you were blue in the face and people would have just shrugged their shoulders…

    So how & why did the “social conditions” change? And how would you suggest that white gentiles change them back?

    Or are you just telling white gentiles to accept their second-class status and stop complaining?

    • Replies: @Jack D
  123. Jack D says:

    I think things will get worse before they get better but eventually there will be a mainstream “white civil rights movement” that will rebel against racial double standards. Until this reaches critical mass, whites are in the same position as a black person who said “don’t call me boy” in Mississippi in 1932 – you are asking for an ass-whoopin’.

    • Agree: Johann Ricke
    • Replies: @vinteuil
  124. @The Wild Geese Howard

    How? I think it’s just that they have a “rougher” background over recent generations. The strike me as the urban version of deep south rednecks and cajuns. Same general attitude and values if different interests.

    • Replies: @The Wild Geese Howard
  125. Glaivester says: • Website
    @Spitshine Tommy

    The funniest thing about Bamboozled is that the main plot actually happened – just not with blacks, but rather with Canadians.

  126. Glaivester says: • Website
    @Art Deco

    Yeah, with the exception of her FSO uncle, Meghan’s white relatives tend to be rather – well, trashy.

  127. Ragno says:

    Or maybe Spike never was all that good, but back in the 1980s the whole world just wanted a talented black auteur so much that we overlooked his shortcomings?

    One of which was that “talent” you referred to. Remember CROOKLYN, where he shot part of the movie with the wrong lens on purpose? Yeah, that was so artistically brilliant theaters started posting signs at the box office stating that the film goes out of focus a lot but not to worry, see, cos it’s supposed to do that – so don’t bother yelling at the projectionist, or asking for no refunds.

    But I’ll give Spike his due; at least he occasionally has to make a competent, commercial crowdpleaser to reassure the Flatbush Bros that he’s still got it and is worth bankrolling. And compared to Woody Allen, Spike’s Dick Donner with a tan. For – what is it now? 30 years? 35? – Allen has been releasing his all-star private jokes on somebody else’s dime, without ever having to soil his hands holding out his hat for very long…..the budgets just seem to always come through for him. Up until a few years ago, he’d even write himself a role as the wise old Jew with the glamazon girlfriend/wife half to one-third his age until reality – and no doubt, Ronan – made such supporting roles dealbreakers.

  128. TheBoom says:

    Why do blacks keep going back in time to show white racism when there are so many modern examples to choose from? Are there any movies in development about Permit Patty? How about the racist bakery (redundant) in Portland that didn’t serve the black woman who showed up after they had the closed sign on the door? How about that white woman who was angry about the Genus’ kid on the escalator? (For that matter, has there ever been a movie where the climax took place on an escalator?) Surely, there has to be a good movie to be made about some random white woman calling the police on a black.

    • Replies: @Steve Sailer
  129. The mixed ones are always the worst: Obama, Holder, Malcolm X, etc.
    The light skinned blacks are required to hate whitey even more to show street cred.
    The mixed blacks are viciously anti-white.
    Spike Lee is an asshole. That sums it up.
    Just a hateful prick.
    If he wasn’t black he wouldn’t have a directing career of any kind.

  130. @TheBoom

    (For that matter, has there ever been a movie where the climax took place on an escalator?)

    Sounds like a Jacques Tati idea for a M. Hulot movie.

  131. @Forbes

    This Most Precious Blood church in Little Italy seemed super-Sicilian in decor.

  132. @songbird

    Adam Driver looks a little bit like my dad, who had a large, rugged nose and very dark hair.

    Ethnically, I have no idea what Adam Driver looks like. If you told me he was some kind of Afghan nomad, I’d probably nod along.

    As Darth Vader Jr., or whatever, he looks like he’s from the human race, but from a different planet, which I thought worked pretty well.

  133. vinteuil says:
    @Jack D

    …eventually there will be a mainstream “white civil rights movement” that will rebel against racial double standards…

    So how does this “white civil rights movement” come about? Weren’t you just saying that drawing people’s attention to “racial double standards” is pointless? So…what?

  134. A friend of mine has a black girlfriend. She has a picture of her black uncle in KKK robes. He died before she was born. According to her aunt, he was a member of the KKK and they knew he was black. He wasn’t the only black member, and he was an area leader. According to her aunt “They did things differently in Louisiana.”
    I pointed out that I know black guys who dressed like the KKK for Halloween. You can understand the humor of this.
    Does anyone know about this? Could this be true?

    • Replies: @Autochthon
  135. @S. Anonyia

    A lot of the southern Italian/Sicilian types have very similar complexions and physiognomy to North Africans.

    Same carmel skin tone. Same wiry or greasy looking hair. Same general perpetually dirty looking appearance that they need a good de-lousing followed by a good powerwashing/firehose shower.

    Their attitudes are also similar, you see the same, “rules for thee, not for me,” attitudes toward life. Same love of tracksuits, ridiculous jewelry, and stupid auto accessories.

    If you’re not part of their extended family, you may as well be something they found on the bottom of their shoe.

    Yeah, wonderful people to deal with.

    • Replies: @Anon
    , @Anonym
    , @Anonym
  136. res says:
    @Jack D

    For the millionth time, racism does not have a commutative property in our society.

    Yeah, I know.

    It is pointless to keep pointing this out because it is a well accepted social convention.

    I disagree. I think it is a convention that is worth criticizing and ridiculing at every opportunity. Especially since there are so many people who pretend it is about the words and not the who, whom? aspect.

    Not a fan of hypocrisy, especially when used in the service of their own moral preening.

  137. Hail says: • Website

    Why Woody Allen (b.1935) would be a Satchel Paige fan is understandable, given his age.

    Why, though, would the much-younger Spike Lee (b.1957) choose the name ‘Satchel’ for his daughter (b.1994), when former Negro League legend Satchel Paige (1906-1982) played his last MLB game in 1953?

    (Paige pitched 117 innings in 1953 and then retired, at age 47 [!], not counting his brief novelty reappearance in 1965, in which he started one game and pitched three innings, conceding one hit and one strikeout).

    In other words, Spike Lee was in boyhood-baseball-fan age many years after Paige’s retirement, not counting that one 1965 novelty start.

    • Replies: @Autochthon
  138. Hail says: • Website
    @Jack D

    Is Spike crouching significantly and wife standing tall aided by high heels? Or is the wife, as it appears, really several inches taller than Mr. Spike?

    Some will tell you that a woman will never marry a shorter man. Maybe each order-of-magnitude over $100,000 of net worth may be worth an 1-to-1.5 inches in height differential.

    The Internet has it that Spike Lee is only 5’6″ (168cm).

  139. TheBoom says:

    I wanted to take a moment to flesh out an idea that Spike can use to address white racism in the modern world instead of having to go back to the 70′s.

    A young black male is walking down a suburban street, going door to door to raise money for a school field trip to Wakanda. He clearly is doing nothing wrong. Cut to a great white woman (a dangerous predator for blacks if there ever was one) watching him from her kitchen window.

    Music from Jaws starts playing

    Split screen of our black protagonist smiling as someone donates to his Wakanda educational trip. At the same time the bigot reaches quickly for the phone.

    At that moment, I imagine blacks will be screaming for him to flee before the popo arrive.

    This has smash hit written all over it. Does anyone know a way to get this to Spike? If he isn’t interested, maybe I should crowd fund it and make it myself.

    • Replies: @TheBoom
  140. TheBoom says:

    The young black kid is just the first victim of the great white female predator. The ADL and SPLC contract with Antifa’s internet anti hate speech division to dox the woman then get her husband fired and kids expelled from school.

  141. Dave Pinsen says: • Website
    @Steve Sailer

    Adam Driver was the most interesting actor on the mostly execrable dramedy Girls. Like a coiled spring.

  142. @JohnnyWalker123

    I LOVE Bensonhurst.
    I did Into the Woods at Simon and Jude, and Gypsy at St. Dominic’s.
    NEVER diss Bensonhurst to me.

  143. Peasant says:

    ‘“Cleopatra was black,” he tells me’

    Wow I never knew it untill now but Spike Lee is a complete idiot. How is it that with Blacks even the smart ones can believe obvious bullsh*t with no shame or any kind of self awareness. By the way she wasnt black. There are both statues from the time she lived and a facial reconsruction that prove this. Oh and also the fact that she
    from an upper class Greek dynasty.

  144. Peasant says:

    Oh and the correct way to respond to this Egypt is in Africa nonsense is just to say ‘so you are telling me you really dont know the difference between North Africa and sub Saharan Africa? You have heard of the Sahara desert right? 3rd largest desert in the world? Largest desert in the world with sand? (you know discounting the arctic and antarctic). Pretty unusual for such a place (which is so inhospitable it has a population the size of Norfolk England) to be so traversible that the two populations north and south of it would be homogenous right?

    Jesus these people are stupid.

  145. @Anon

    Why did you place miscegenation within quotation marks? (I italicise it here to indicate I am referring to the word as a word, but you didn’t seem to be, for instance, citing a quotation by Mr. Sailer.)

    Incidentally, the ending punctuation is inside the closing quotation marks in such a situation, thus: “miscegenation?”

  146. Peasant says:
    @Steve Sailer

    Always though Adam Driver was ethnically jewish although you can tell he wasnt raised in that culture. He joined the marine corps then served overseas the decided he wanted to become an actor

  147. @Hail

    Yeah, but Lee’s been in an awakened, Negro hero-worshipping stage his whole life. Satchel Paige is one of those. people the likes of Lee adores for the same reasons they adore George Washington Carver, Frederick Douglass, and so on. If he’d had another boy he’d as likely have named the child Jackie – although Robinson last played in 1956 – for similar reasons having nothing to do with being an actual fan of baseball.

    • Replies: @Hail
  148. @flyingtiger

    By any chance was this uncle of hers her Uncle Ruckus?

  149. LondonBob says:
    @Steve Sailer

    Driver is just a slightly inbred Scots-Irish, Driver tends to be a northen English name. Baptist, Marines, Arkansas and Indiana background.

    • Replies: @S. Anonyia
  150. @Anon

    Well said. I have never seen, and will not see, Pulp Fiction, Reservoir Dogs, or Kill Bill. Tarantino makes violence porn, not movies about violent men such as The Wild Bunch.

    PS Steve, is the New Comment thing broken? I read this thread last night all the way through but saw 91 new comments this morning.

  151. U-Bahn says:

    OT, relevant in art and music category of iSteve topics.

    The Guardian (English newspaper) writes about one of your music topics, punk, and how the Vans Tour jumped the shark. They ask that question: did it fail to champion diversity?

  152. Anon[202] • Disclaimer says:
    @The Wild Geese Howard

    This comment is a valuable counterpoint to the guys who are always complaining about antisemitism on here. Thanks.

  153. Truth says:

    Yeah, because as we all know, Spike Lee is so outspoken in his pro-miscegenation stance.

    • Replies: @Anonym
  154. Truth says:

    No, actually Game of Thrones is just shit, superficial-titillation.

  155. Truth says:

    I thought that every director in Hollywood was an “Anti-White racist POS”, did I get this wrong?

  156. @Steve:

    I have been shocked that the World Socialist Web Site (WSWS) blog has excellent movie reviews!

    And they hit it out of the park once again with their review of Lee’s latest travesty. Their point of view is different than yours, but with similarities.

    If you have not read this review ( and/or other of their movie reviews, you are in for a treat.

    They also put out great essays on the #metoo travesty and some pretty good music reviews as well.

    Must of their other posts, I can’t go with, especially their pro-immigration garbage (which I have frequently challenged them on–they have open comments just like unz), and their rabid anti-Trump bullshit.

    But as I said, their movie reviews, metoo, and music reviews are superior to almost anywhere else, except possibly for you.

    • Replies: @DFH
    , @TheBoom
  157. Jack D says:
    @Steve Sailer

    If you read Der Giftpilz, you will learn that having a large nose is not the same as having a Jewish nose. Non-Jews can have large noses but they are straight and not hooked. Jewish noses have a bump in them and the tip of the nose descends below the attachment point and then curves up again. Of course, not all Jews have “Jewish” noses. Look at say William Shatner.

    Nor are all Northern Europeans blonde. Dark hair is a common variation.

    Driver to me looks like he has a little proto-European in him – maybe a bit more Neanderthal than most modern Europeans with his heavy brow.

  158. Anonym says:

    Did someone else direct the movie? Or maybe I watched a deleted scene instead of the real ending? In the one I linked to, Ed Norton has sired at least 6 mystery meats. That’s a more audacious parenting goal than most WNs can conceive of. Maybe Spike liked that message, Sport?

  159. Anonym says:
    @The Wild Geese Howard

    A lot of the southern Italian/Sicilian types have very similar complexions and physiognomy to North Africans.

    Same carmel skin tone. Same wiry or greasy looking hair. Same general perpetually dirty looking appearance that they need a good de-lousing followed by a good powerwashing/firehose shower.

    For those younger than Gen X, this is the recommended procedure.

  160. Anonym says:
    @The Wild Geese Howard

    And this is the recommended de-lousing procedure, to go along with the power washing. I had never seen this movie, but it appears they got this totally uninfluential no name wop to act again here in 1989. Enjoy!

  161. Hail says: • Website

    If he’d had another boy he’d as likely have named the child Jackie

    His actual and only son (b. 1997) is named Jackson.

    Named after?

    Michael? Possible.
    Andrew? Not…likely (disqualified for being White, among other reasons)
    Jackson Browne? The era fits, but see bracket above.

    Maybe the ‘Jackson’ name is a tribute to Jackie Robinson after all.

  162. DFH says:

    The facts of Stallworth’s exploits hold a certain interest. His ability to fool Klan members and Duke over the telephone speaks to the essential stupidity and impotence of this fascist filth


    The review you linked is agressively stupid.

  163. Rifleman says:
    @Nigerian nNtionalist

    is a junky movie distinguished mostly by Spike’s abiding hatred for white women, which traces back to his fury at his white stepmother.

    Maybe he’s just pandering to his black female audience.

    They hate White women more than he does.

  164. @LondonBob

    Yep. Looks like plenty of people in Appalachia. Often people who look like him erroneously believe they are part Native American.

  165. TheBoom says:

    Fascinating review. While many of the observations and almost all of the conclusions of the old left (as shown in this review) are inaccurate, they are far more grounded in reality than the current left which has been coopted by the wealthy globalist cabal to fight the working class and destroy white culture.

    • Replies: @restless94110
  166. Roy says:

    The idea that black men do not use self deprecating humor is not true, they just don’t take kindly to other races having fun with racial stereotypes at their expense. Then they can indeed be a bit oversensitive.

  167. utu says:

    Fellini on set, shooting Satyricon

    • Replies: @Rosamond Vincy
  168. @TheBoom

    I admit the review got worse as it went on, and that the site has a bad case of TDS, along with believing such ridiculous nonsenes about David Duke, that unlimited immigration is good, and a ton of other irritating crap (including their much-stated notion that the current internet censorship is primarily directed at left wing sources!), but I’ve found genuine originality in their critical reviews of music and films most of the time, and they are vociferously against the metoo movement and consistently speak to the damage to art and culture that that witch hunt is causing. Their recent piece on the transgender brouhaha over Scarlett Johansen (sic) being forced to drop out of that feature film was outstanding.

    Sometimes you have to take the chaff with the wheat.

  169. @utu

    More like choreography than theatre acting. It’s visually beautiful, but it explains why his films have always seemed so alienating to me.

  170. @TGGP

    Irrelevant. Born on the Fourth of July was much better than either.

  171. @Anon

    Anon, that was a brilliant essay.

    I can’t say I’ve seen anything by Tarantino since Pulp Fiction, or by Lee since (had to look it up) his fake documentary, When the Levees Broke (2006)—you know, the “non-fiction” thing that tells us that all of the violence committed just before, during, and after Hurricane Katrina made landfall was by whites?

    Before that, I made it maybe 30 minutes into Jim Brown, All-American (2002). It must drive Lee nuts that the once anti-American Brown has repeatedly condemned the pro-cop killer NFL players.

    Someday, I’ll probably have to watch more of Lee and Tarantino’s, er, things, but the last picture we in the Stix household watched was Kurosawa’s High and Low (1962), for the third time in a year (a few days ago), and a few days before that, The Sand Pebbles (1966), for the second time in a month.

    But those were new pictures, by our reckoning. Before that, we’d seen The Seventh Seal (1957), Witness for the Prosecution (1958), Metropolis (1927), etc. You get the idea.

    As for Scorsese, I was once a big fan of his. I thought Taxi Driver, Raging Bull, The Last Temptation and Goodfellas were enduring masterpieces.

    But then I thought about his old friend and favorite protagonist. I don’t know about you, but I like to watch movies in which the protagonist is sympathetic. Let the heavies do the dirty work.

    The only movie that Robert de Niro starred in that I now consider a masterpiece is The Deer Hunter. Note that it was directed by Michael Cimino, may he rest in peace.

    The Deer Hunter character de Niro played, Michael, is a heroic character.

    But Scorcese cast de Niro as one schmuck after another, when the latter didn’t play someone downright evil (Goodfellas).

    So, they were in sync; schmucks all the way down.

    Of course, now we know just what an imbecile de Niro is.

    A few years ago, I started to think about Taxi Driver. In making it, Scorcese is having an orgasm over how “ironic” he is.

    ‘Oh, those boobs, the American public! Take a psycho killer, and when he changes plans, and doesn’t kill the Kennedyesque, liberal politician he’d planned on assassinating, but instead kills a pimp and his associate, they make him a national hero!’

    Scorcese’s idea of irony started looking pretty glib to me.

    I guess Scorsese wasn’t up on his Shakespeare.

    (Never mind that Travis Bickle was a straw man. Although the mentality that Paul Schrader wrote for him—“Someday a real rain will come and wash all this scum off the streets”—had a lot to recommend it, in 1970s’ New York City.)

    Brush up your Shakespeare, and they’ll all kowtow!

    • Replies: @Rosamond Vincy
  172. @Nicholas Stix

    Which Metropolis did you see? The recent one with restored “lost” passages, or the one with the techno music from a few decades back?

    • Replies: @Nicholas Stix
  173. @Rosamond Vincy

    The more recent, 2010 one, with 25 minutes of restored, lost passages.

    From the DVD package:

    “Original 1927 score by Gottfried Huppertz…”

    148 min.

  174. MBlanc46 says:

    Don’t say that to John Gennari.

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