spike lee

By 1988 Lee’s School Daze was released, a musical comedy that confronted what Lee called the black caste system: Within the black community itself people are discriminated against based on the lightness or darkness of their skin as well as other physical attributes. Island Pictures pulled out of the project, but within two days, Lee negotiated a deal with Columbia Pictures. Again, the film did well at the box office, but it provoked quite a stir within the black community.
Lee next confronted racism in Do the Right Thing (1989). This was the beginning of a new relationship between Lee and Universal Pictures, which grossed more than $30 million from the film. The work was highly praised by many critics, although some feared that it would incite violence due to its ending’s seeming ambiguity. It was awarded the Los Angeles Film Critics Awards for picture, director, and screenplay and was nominated for the Academy Award for Best Screenplay.
Lee’s next work, Mo’Better Blues (1990), focused on relationships and the obscssiveness of a black jazz artist. While the film starred Denzel Washington, it drew only a moderate number of moviegoers, lukewarm reviews, and criticism for its shallow female roles and some stereotyped characters. Shortly following in 1991 was Lees Jungle Fever, which focused on an interracial relationship. It fared well at the box office and inspired mixed reviews.
Lee’s most sweeping undertaking so far has been his epic Malcolm X, also starring Denzel Washington. Once Lee was given the job of directing it, some African Americans responded negatively, claiming that Lee was more concerned with fattening his own wallet than adequately portraying the complicated Malcolm X. Aside from this problem, Lee had to contend with what he saw as a severely inadequate budget from Warner Brothers. Lee had asked them for $40 million, and when he was offered only $20 million, he set about gathering the money from other sources, some of which were famous black celebrities such as Oprah Winfrey, Bill Cosby, and Michael Jordan. Extensive publicity created what was called Malcolm-mania and a good draw at the box office when the film was released in 1992, but not much critical acclaim.
After the Academy Awards of 1993, Lee bowed out of public view, granting no interviews. In October he married Tanya Lynette Lewis, a lawyer from Washington, D.C.
Contrasting the expansiveness of Malcolm Xweie Lee’s next undertakings. Crooklyn, released in 1994, was cowritten by Lee’s siblings and was a comedy focusing on their childhood memories of Brooklyn. It was personal rather than political, revealing more dimension to the radical filmmaker, yet receiving a mixed response from reviewers and only a mediocre showing by filmgoers. Lee’s first child, a daughter named Satchel after the baseball player Satchel Paige, was born in 1994. His next film, dockers, was released in 1995 and received notable acclaim. Some critics cited it as Lee’s best work, although it appealed to only small audiences. Get on the Bus (1996), Girl 6(1996), and 4 Little Girls (1997) followed, with 4 Little Girls receiving an Academy Award nomination for best documentary.
Lee remained in the public eye from other ventures as well. He opened a store, Spike’s Joint, in Brooklyn in the late 1980s; it sells items that promote his movies, with some of them being available as much as a year ahead of a film’s release. He also directed music videos for artists such as Tracy Chapman and Public Enemy and established a music division of his film production company. In 1997 his son, Jackson, was born. In 1998 he released He Got Game with Disney’s Touchstone Pictures. It was his first film to open in the number-one position in the box-office rankings. Starring Denzel Washington once again, it received kudos from the critics. Still with much energy to spare, Lee wrote, produced, directed, and starred in Summer of Sam (1999) and soon after directed The Original Kings of Comedy (2000). He teaches at both New York University and Harvard.
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Spike Lee Influential African American Director
1957-

What’s the difference between Hollywood characters and my characters? Mine are real.
—SPIKE LEE

Spike Lee

I have a big problem with Norman Jewison directing The Autobiography of Malcolm X. That disturbs me deeply. It’s wrong with a capital W. Blacks have to control these films. Malcolm X is one of our most treasured heroes. To let a non-African-American do it is a travesty.” This is what Spike Lee told the New York Times when Warner Brothers announced its plans for the retelling of the life of the famous civil rights leader. Lee’s remarks sparked attention and controversy once again. He was bold and direct, not only with his words but with his approach. For in typical Spike Lee fashion, when he heard about the plans for Jewison to direct the film, be didn’t approach Warner Brothers with his pitch that the directing job should go to him instead; he went directly to the media with a statement that he knew would be not just heard but echoed and reechoed as others responded. In the 1980s he had become the most recognized black American filmmaker, intent on portraying the true grit of the African American experience—-whether by taking on tough, controversial topics in his films or with his own tongue when speaking to the media.
Born on March 20, 1957, in Atlanta, Georgia, as Shelton Jackson Lee, the future filmmaker was nicknamed “Spike” by his mother, Jacquelyn, because of his toughness. His father, Bill Lee, was a jazz musician; later he would write the scores for many of his son’s movies. The family moved to Brooklyn, New York, in 1959. When it came time for college, Lee chose Morehouse College, the black school that his grandfather and father had both attended, majoring in communications. This was followed by graduate work in film at New York University.
Lee graduated from NYU in 1982. At the same time that he was employed at cleaning and shipping film for a movie distribution house in 1984, he was scavenging for money for his own first film after graduation. Determined, Lee worked with others on preproduction for the film but finally stopped the project due to lack of sufficient funds, even though more than $100,000 had been raised.
Lee’s next venture began a year later with a severely restricted budget of $175,000 that put him in excessive debt. He wrote, produced, directed, edited, and costarrcd in his film She’s Gotta Have It, It was a black-and-white work that was filmed in just one location with a small cast and edited in Lee’s apartment on rented equipment. Island Pictures agreed to distribute it, and the film drew large crowds of blacks as well as unanticipated art-house groupies, grossing more than $7 million. An easy comedy, it confronted stereotypical male/female relationships and machismo. The film also brought Lee an array of fans for his role as the comic figure Mars Blackmon, who would later appear in Nike television commercials but never again in a movie. As for the critics, they responded nearly equally with both sharp critiques and hardy applause. Yet despite the naysayers, the film prompted the birth of more realistic filmmaking by and about blacks, which came to be termed “New Jack Cinema.”
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