A Filmmaker's Guide to: “Malcolm X” (1992)

In this chapter of ‘the filmmaker’s guide’ we are going to explore some of the films that have changed our outlook of the possibilities in cinema in some way, shape or form. These can include, but are not limited to: revolutionary cinematography, narratives that challenge the social structure and the common view, trademark styles of auter cinema, brilliant adaptations of novels and other works, films of philosophical value and films that touch our hearts and souls with their incredible underlying messages and morals. Within each of the films in this chapter there is a certain something that makes them special and a certain something that makes them linger long after we have watched them for the first time. Lasting impressions are difficult to create, but I think that the films we will briefly touch on in this chapter are some of the films we will never ever forget.

“Malcolm X” (1992) dir. by Spike Lee

I believe that in cinematic history that this is one of the most important films to be made about any historical figure. Personally, I am a massive Malcolm X fan and Spike Lee only made me even more of a Malcolm X fan than I already was. A brilliantly made film helped by the incredible acting of Denzel Washington as the Human Rights’ Activist, this film really does change the way you see cinema and more importantly, it is a landmark in Black Cinema as being one of the greatest films of the ever-growing sector. It is, in my opinion, one of the greatest if not the greatest biopic ever made.

A film that offers much more than meets the eye, it is based on the book “The Autobiography of Malcolm X” and was released on the 18th of November, 1992. It would go on to win Denzel Washington awards for his acting talent and become nominated for the Academy Award for Best Actor. In 2010, it was rightly selected for the National Film Registry in the Library of Congress as being culturally significant - it was well overdue. This film is an instant classic and will definitely be remembered as one of the greatest films of the 20th century in the years to come.

It was a fairly accurate film despite the concerns over Spike Lee’s depiction of Malcolm X through the shorter and darker-complexioned Denzel Washington. The film was seen over by the consultant which happened also to be Betty Shabazz, the widow of Malcolm X. Although Malcolm X was portrayed by Denzel Washington, there were also a number of cameos presented by the likes of Christopher Plummer, Al Sharpton, Bobby Seale of the Black Panthers, William Kunstler, Spike Lee himself and yes, even Nelson Mandela makes an appearance. Betty Shabazz is portrayed by the amazing Angela Bassett and Al Freeman Jr. portrays the controversial and famed figure of Elijah Muhammad.

The film has since become one of Spike Lee’s most respected pieces of work and has since gained him notoriety for combatting all of those topics about racism that you weren’t allowed to talk about in Catholic School. I asked a question about Malcolm X and how come we didn’t learn about him in History Class some ten years’ ago and was sent straight to the Principal’s Office. It was only through various books and of course, Spike Lee’s film, that I would actually come to learn more and more about Malcolm X, who he was and how he changed the world.

Here, at this final hour, in this quiet place, Harlem has come to bid farewell to one of its brightest hopes. Extinguished now, and gone from us forever. It is not in the memory of man that this beleaguered, unfortunate, but nonetheless proud community, has found a braver, more gallant young champion than this Afro-American who lies before us - unconquered still. I say the word again, as he would want me to: Afro-American. Afro-American Malcolm. Malcolm had stopped being Negro years ago. It had become too small, too puny, too weak a word for him. Malcolm was bigger than that. Malcolm had become an Afro-American, and he wanted so desperately that we, that all his people, would become Afro-Americans, too.

There are those who still consider it their duty, as friends of the Negro people, to tell us to revile him, to flee, even from the presence of his memory, to save ourselves by writing him out of the history of our turbulent times. And we will smile. They will say that he is of hate, a fanatic, a racist who can only bring evil to the cause for which you struggle! And we will answer and say unto them: Did you ever talk to Brother Malcolm? Did you ever touch him or have him smile at you? Did you ever really listen to him? Was he ever himself associated with violence or any public disturbance? For if you did, you would know him. And if you knew him, you would know why we must honor him: Malcolm was our manhood, our living, black manhood! This was his meaning to his people. And, in honoring him, we honor the best in ourselves.

However much we may have differed with him or with each other about him and his value as a man, let his going from us serve only to bring us together now. Consigning these mortal remains to earth, the common mother of all, secure in the knowledge that what we place in the ground is no more now a man, but a seed which, after the winter of our discontent, will come forth again to meet us. And we shall know him then for what he was, and is: a prince! Our own black shining prince who didn’t hesitate to die, because he loved us so.

- Ossie Davis delivering the eulogy, "Malcolm X" (1992)