Analyzing Malcolm X Movie based on The Autobiography of Malcolm X

Produced by Marvin Worth, directed by Spike Lee, and based on the novel, The Autobiography of Malcolm X, by Alex Haley, Malcolm X takes the viewer on a journey through the life and times of the controversial Muslim minister, Malcolm X. Famed actor, Denzel Washington, does an excellent job of portraying Malcolm X in this film. Spike Lee's reputation for offering an African-American's perspective on controversial issues to mainstream society is perhaps best demonstrated in his 1992 film, Malcolm X.

The Plot

In his cinematic adaptation of Alex Haley's The Autobiography of Malcolm X, Spike Lee does what he is renowned for- enlightening society, by giving them an “insider's look” of African-American culture.

Lee was able to not only overcome a great deal of obstacles in producing the film, but his cinematic portrayal of Malcolm X has shaped society's views of the most prominent and controversial Muslim minister of the twentieth century. Spike Lee was able to do so by choosing to include events in Malcolm's life beginning from his early childhood, to his assassination in 1965, to the posthumous effect he has had on African-American students across the world.

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Malcolm X begins with an anti-white monologue spoken by Malcolm X (Denzel Washington), while being intercut with videos depicting what appears to be racially motivated police brutality, and ends with an American flag burning into an “X”. The sensationalism that sets the initial tone for the film in the first scene ends abruptly, as scene two begins telling the story of Malcolm X, taking place in Boston, during the 1940s.

This scene shows stereotypical African-American culture (i.e. shoe shiners, and the quintessential African-American barbershop), and a young starry-eyed Malcolm X striving to fit in with White culture.

It is at this point in the movie when the flashbacks of Malcolm's childhood begin to take place, which informs the viewer of the persecution his family faced as a result of being African-American. The flashbacks suggest that Malcolm's anti-White views were instilled by his father and the persecution Malcolm experienced at the hands of white people, rather than the Nation of Islam. The focus on Malcolm's early life enables Spike Lee to show the dynamic personal growth of Malcolm X. Just like Malcolm X's stages of life, the plot of Malcolm X can be divided into four distinct phases that coincide with the life of Malcolm X.

The four stages of Malcolm X's life and Spike Lee's plot for Malcolm X are: Malcolm Little, Detroit Red, Malcolm X, and El Hajj Malik el Shabazz (Ampim). The "Malcolm Little" stage presents the early childhood of Malcolm X, and the hardships he faced growing up as an African-American. Such hardships include his father being murdered by the Ku Klux Klan, educators denying his career goals, and being sent to a detention home. "Detroit Red" is Malcolm X in his adolescent years, and highlights his involvement in crime in Boston, which led to his incarceration, and proved to be one of the most pivotal moment in his life.

The "Malcolm X" phase is the most celebrated time in Malcolm's life, and it portrays Malcolm's involvement with the Nation of Islam, and how he became one of the most well-known African-American leaders. The last stage of Malcolm's life and the film is the “El Hajj Malik el Shabazz" stage. This stage of the film exhibits Malcolm X's life after leaving the Nation of Islam, his journey to Mecca, his return to the United States, and ultimately his assassination. Although Spike Lee's Malcolm X is comprehensive and arguably the greatest contribution to his reputation, many critics and scholars dismiss the historical accuracy of Lee's film.

Reality

In discussions of Spike Lee's Malcolm X, a controversial issue has been whether the film offers a historically accurate depiction of Malcolm X. On the one hand, some argue that the film is historically inaccurate, and does not portray the true Malcolm X. From this perspective, they argue that Lee's portrayal of Malcolm X is too conservative, and does not capture the true essence of his character. On the other hand, however, others argue that Spike Lee's Malcolm X is a just testament to the life of Malcolm X.

In the words of one of this view's main proponents, "Lee's Malcolm X is still an often impressive, occasionally stunning achievement" (Dyson 132). According to this view, Spike Lee's portrayal of Malcolm X is a justifiable representation of Malcolm X. In sum, then, the issue is whether Spike Lee's Malcolm X is historically accurate, or a film shrouded in inaccuracies.

Upon conducting extensive research drawn from scholars, researchers, and original films and interviews featuring Malcolm X, it is evident that Lee's Malcolm X does contain historical inaccuracies. However, it must be noted that these inaccuracies are a product of the obstacles inherent to all historical films created for the general public.

Moreover, it would be virtually impossible to create a film depicting a highly controversial figure such as Malcolm X that satisfies the desires of an eclectic group of scholars, historians, and critics. Lastly, the historical inaccuracies in Spike Lee's film do not distort Malcolm X to the extent that would lead one to deny and dismiss the credibility of the film in its entirety. In order to accurately assess the credibility of Spike Lee's Malcolm X, the film's accuracies, and inaccuracies must be identified and examined.

Spike Lee's Malcolm X is arguably the most effective source of familiarizing the general public with Malcolm X. It would be erroneous to assert that historically inaccurate films have not played a large role in shaping and distorting society's views of African-American culture, and Lee's Malcolm X does contain historical inaccuracies, however; its cultural significance lies in the film's distinct portrayal of Malcolm X, which offers an accurate depiction of Malcolm X that is not found in racially-biased media sources. It is this sole fact that has made Malcolm X the widely acclaimed film that it has become today. Lee's Malcolm X accurately portrays the zeitgeist of the 1940s, and the four phases of Malcolm X.

Watching Malcolm X is more like stepping into a time machine than simply watching a film. Lee's attention to detail allows one to feel as if they have traveled back in time and are experiencing life in the 1940s alongside Malcolm X. The use of period music and fashion in the 1940s are the two foremost aspects of the film that best demonstrate this. Subsequently following the film's introduction, in which footage from the Rodney King Riots is shown, the viewer is immediately placed in the 1940s. Rapidly shifting the film's focus and the viewer's mindset from the early 1990s to the early 1940s is no small feat.

However, Spike Lee is able to achieve this by paying strict attention to the culture of the 1940s. In the opening scene, the music of Big Joe Turner is playing, and its highly energetic rhythms and piano riffs capture the classic jump-blues sound that is associated with the 1940s. The energetic music also reinforces the hustle-and-bustle vibe of Boston during the 1940s. Although blues is known for the strong, often sad emotion it evokes from its listeners, the music of Malcolm X in the scenes depicting the 1940s contains nothing but flashy, energetic blues. This theme is also reinforced by Malcolm's wardrobe.

In the scenes depicting the 1940s, Malcolm X wears flashy zoot-suits that were popular with rebellious teens during the era. It must be noted that the choice of outfitting Malcolm X (Denzel Washington) in ostentatious zoot-suits is more than a representation of fashion during the 1940s. In fact, it serves the purpose of demonstrating the non-conformist within Malcolm X.

Interestingly, zoot-suits are more of a socio-political statement than a fashion statement. Stuart Cosgrove's article, “The Zoot-Suit and Style Warfare”, published in the History Workshop Journal, addresses the socio-political significance of zoot-suits: When the nameless narrator of Ellison's Invisible Man confronted the subversive sight of three young and extravagantly dressed blacks, his reaction was one of fascination not of fear. These youths were not simply grotesque dandies parading the city's secret underworld, they were "the stewards of something uncomfortable"(2), a spectacular reminder that the social order had failed to contain their energy and difference.

This article affirms that zoot-suits were not worn solely as a fashion statement, but were worn by African-Americans to let society know that they were no longer going to conform to the constraints of society. Moreover, Malcolm X's zoot-suits are used to foreshadow his disapproval of African-Americans who change their appearance to assimilate into white culture. In conjunction with accurately portraying the zeitgeist of the 1940s, Spike Lee accurately represents the four phases of Malcolm X's life.

Agreement is seldom achieved between those who support and oppose Malcolm X. However, the one incontestable fact pertaining to Malcolm X that both parties agree upon is the complexity of his life. Malcolm X's complexity and iconicity is due to his transformational leadership, which evolved throughout his life. In order to truly understand Malcolm X, the most important factor to be examined is the complexity of his character, which stems from the four distinct phases of his life.

Studying Malcolm X without acknowledging the four phases of his life will result in a distorted and superficial understanding of the iconic African-American leader. Malcolm X's life began with sorrow, loss, persecution, and confusion, but as he matured, his ideologies evolved from hate and exclusion, to a mindset that sought truth, compassion, and inclusivity. To illustrate this accurately in a film that is just shy of three-and-a-half hours is simply remarkable, and is Spike Lee's greatest feat in Malcolm X.

Scholars of Malcolm X concur that the four phases of his life are what "provided the foundation for Malcolm's transformational leadership and educational legacy” (Muhammad Najee). It is this transformational leadership and educational legacy that are responsible for Malcolm X's cultural and historical significance. The four phases of Malcolm X's life (in reality and in Spike Lee's Malcolm X) are Malcolm Little, Detroit Red, Malcolm X, and El Hajj Malik el Shabazz.

Malcolm X begins with Denzel Washington acting as “Detroit Red”. In the beginning of the film, "Detroit Red" is striving to fit in with white culture and takes many steps in order to do so, including discriminating against other African-Americans and chemically altering his hair to make it "look white", both of which are true historical occurrences (Lee Spike). There are many examples of historically accurate depictions of "Detroit Red", with the most notable being his personality, and criminal involvement. Being able to portray his personality accurately is not surprising when one considers the fact that the film's producer, Marvin Worth, knew Malcolm X during his "Detroit Red" phase (Weinraub Bernard).

The advantage of the producer having a personal relationship with Malcolm X allowed Spike Lee to capture historical facts of "Detroit Red”, and illustrate his personality correctly, thus building a personal relationship with the audience. In recalling his relationship with "Detroit Red", Marvin Worth said "He was very witty, a funny guy, and he had this extraordinary charisma...very gregarious" (Worth qtd. in Weinraub). His wit and charisma is prevalent throughout the “Detroit Red" phase.

For instance, his charismatic personality attracts the attention of multiple females, including one white female whom will soon be his girlfriend and partner in crime. His wit is best displayed in his first conversation with the crime boss, "West Indian Archie". Subsequently following a bar fight, West Indian Archie summons "Detroit Red" to his table, and his quick wit is able to gain West Indian Archie's approval, which leads to him allowing "Detroit Red" in his crime gang.

Perhaps one of the most pivotal moment in Malcolm's early life, which led him to grow into the historical figure he has become today was his involvement with crime. Spike Lee rightfully spends quite a bit of time illustrating Malcolm's involvement with crime. In Malcolm X, the viewer learns of the factual accounts of Malcolm's criminal history, including his involvement with gambling, theft, prostitution, drug use, and the crimes which lead to his incarceration.

If Spike Lee had not gone into detail of Malcolm X's criminal history, then the audience would be unaware of the downfalls of his life, which acted as a catalyst for his involvement in personal and social reform. Moreover, his criminal involvement serves the purpose to demonstrate Malcolm's perspective on society, and how he believed it undermined African-Americans.

In speaking about West Indian Archie, who had to resort to crime to survive, and ultimately became debilitated as a result of drug use, Malcolm X (Denzel Washington) said: "Cats that might have probed space or cured cancer (Hell, Archie might have been a mathematical genius)—all victims of whitey's social order" (qtd. in Winn 459). At the same time Spike Lee is reproducing "Detroit Red", he skillfully uses flashbacks to inform the viewer of Malcolm's childhood.

During the "Detroit Red" phase of Malcolm X, Lee utilizes flashbacks of Malcolm's childhood, to demonstrate the "Malcolm Little" phase. This phase of Malcolm's life is named in accordance to his surname-"Little”. The similarities between Malcolm Little in Malcolm X and Malcolm's childhood are both historically accurate, and portray Malcolm's life as he recalled it.

An article published in the New York Amsterdam news, in May, 2011, addresses the accuracy of Alex Haley's Autobiography of Malcolm X, which Spike Lee used as his greatest source for the film. The article confronts the legitimacy of the psychoanalyzation of Malcolm X, ordered by Alex Haley. When asked his opinion of the psychoanalyzed reports, Malcolm said "I like them. These people know more about me than I know about myself" (Malcolm X. qtd. in Boyd). This must be noted, due to the fact that it dismisses the opinions of those who argue that Lee's film distorts Malcolm's childhood, due to the events of his childhood being based on allegations.

Such dissenting opinions include: Lee portrays the childhood incidents with little or any investigative depth...Lee asserts that Malcolm's father, Earl Little, was murdered by an extremist group...In short, Lee uses the flashbacks of Malcolm's childhood years during Malcolm's "Detroit Red" gangster years to depict events as assertions, and whisks them away as narrative facts. (Febus 90- 91)

While this author argues that Spike Lee is asserting the accounts of Malcolm's childhood, by understanding the issues at hand, one is able to understand why Spike Lee chose to include Earl Little being killed by the Ku Klux Klan. First, Malcolm X believed that his father was killed by the Ku Klux Klan as a result of the history of conflict between his family and the Ku Klux Klan, and the odd circumstances of his death. Secondly (and most importantly), the traumatizing experience of losing his father caused Malcolm to experience first-hand the effects of racial violence, which proved to have a lifelong effect for Malcolm.

On the topic of his father's death, Malcolm X said it was like "Some kind of psychological deterioration hit our family circle and began to eat away our pride" (qtd. in X, Haley 14). This devastation is demonstrated factually in Malcolm X, when Spike Lee shows how Malcolm's mother, Louise, was unable to support her family and experienced great psychological trauma which led to her institutionalization in a mental hospital (Jenkins, Tryman). Following the stages of "Detroit Red" and "Malcolm Little”, the remaining half of the film focuses primarily on the "Malcolm X” stage, and focuses secondarily on the “El Hajj Malik el Shabazz” phase.

The period in time following his incarceration and during his involvement with the Nation of Islam is Malcolm X's most identifiable phase, known as the "Malcolm X" phase. In his time as "Malcolm X", Malcolm was involved in countless challenges and events. The changes and events he endured during this stage helped him rise among the ranks in the Nation of Islam, which in turn, increased the public's awareness of Malcolm X and the Nation of Islam.

Considering that the “Malcolm X” phase lasted for over a decade, it would be impossible for a Hollywood film to include everything Malcolm was involved with during the time. As a result of this, Malcolm X includes the most crucial and controversial events of the Malcolm X phase, which is done to allow the public to gain a deeper understanding of Malcolm X. The most crucial events of the "Malcolm X' phase that are accurately portrayed in Malcolm X is the Johnson Hinton incident, and the "chickens coming home to roost" statement.

There are many important events of Malcolm's life during the "Malcolm X" phase, which have resulted in Malcolm gaining public notoriety. The Johnson Hinton incident and the "chickens coming home to roost" statement, are perhaps the two most important events of the "Malcolm X" phase. These two events are important, because they allow the audience to understand the personal transformation of Malcolm X that occurred during this phase.

The Johnson Hinton incident happened in the 1957, when Brother Hinton X Johnson (a member of the Nation of Islam), tried to break up a fight, then was brutally beaten by New York police (Jenkins, Tryman, xvii). Following the beating, Hinton was taken to a New York police station, but did not receive medical attention for his severe injuries. Upon learning about the brutal beating, fifty members of the Nation of Islam's Temple Number Seven (the temple which Malcolm headed at the time) stood in "rank formation" outside the police station (Jenkins, Tryman, 295).

Once Malcolm arrived, the police denied that Hinton was in custody, and the police did not let Malcolm see him. By this time, the crowd outside of the police department grew to include over 3,000 people (Jenkins, Tryman, 295). Once the police realized this and the severity of the situation, they let Malcolm see Hinton, and Malcolm demanded they take him to the hospital. Subsequently following Hinton receiving medical treatment, the chief of police ordered Malcolm to remove his men, and with one hand gesture, all of the protesters outside of the police station left.

In the end of this scene, the police chief states "that's too much power for one man to have". This incident was depicted accurately in Malcolm X, and was effective in demonstrating Malcolm's influence in both the Nation of Islam and the African-American community. On the other hand, the "chickens coming home to roost" statement informs the audience of Malcolm X's decline within the Nation of Islam.

America was in a state of despair in November 1963, when President John F. Kennedy was assassinated. One of Malcolm's most infamous public statements occurred a week after the assassination at a Nation of Islam rally in New York City (Jenkins, Tryman 148). Lee portrays the statement and the effects of the statement accurately in his film.

In the scene when Malcolm makes his infamous statement, Spike Lee uses a black and white filter, to make it appear as if the viewer is watching the event through the perspective of the media. When Malcolm is questioned about the assassination of John F. Kennedy, Malcolm says that the death was a question of “the chickens coming home to roost" (Jenkins, Tryman 148).

Although the Nation of Islam was very outspoken in their hatred of all white people, including previous statements which deemed Kennedy a "white devil", Elijah Muhammad told Nation of Islam ministers not to make derogatory public statements about Kennedy's assassination (Jenkins, Tryman 148). Elijah Muhammad's ordered this because he was aware that the death affected whites as well as African-Americans.

Obviously Malcolm's statement did not comply with the orders, and Elijah Muhammad silenced Malcolm for ninety days. Spike Lee depicted this conflict in great detail, as well as the effects that followed Malcolm's silencing. In reality and in the film, Malcolm learns that members of the Nation of Islam are jealous of his power and influence within the group, his relationship with Elijah Muhammad, and that Malcolm X's publicity was overshadowing Elijah's. The combination of jealousy, corruption, and other conflicts within the Nation of Islam i.e. Elijah Muhammad committing adultery heightened tensions, resulted in Malcolm leaving the Nation of Islam.

Malcolm X lost his faith in the Nation of Islam as a result of the jealousy and corruption within the organization. Malcolm idolized Elijah Muhammad, but once learned about his violation of the organization's rules, and his jealousy of Malcolm, Malcolm's perspective of the organization quickly changed. Once his mindset changed, Malcolm X entered the final phase of his life known as the "El Hajj Malik el Shabazz” phase. This final phase was Malcolm's most mature phase, in which he abandoned his discriminatory ideologies, and sought truth, compassion, and inclusivity. Spike Lee accurately illustrates the "El Hajj Malik el Shabazz" phase, by including Malcolm's journey to Mecca and the final months of Malcolm's life.

In Malcolm X, the “El Hajj Malik el Shabazz” phase accurately portrays Malcolm's Journey to Mecca. In this part of the film, “El Hajj Malik el Shabazz" (Malcolm X) ventures on a journey to Mecca, which is a part holy ritual of orthodox Islam, known as "Hajj" (Febus 102). It is during this journey where Malcolm's new tolerant mindset (as a result of disappointment of the Nation of Islam) begins to flourish.

During his pilgrimage, Malcolm takes part in the traditional rituals of Hajj, and he experiences and interacts with Muslims of all different ethnicities. It is at this point where Malcolm becomes "El Hajj Malik el Shabazz”, and completely dissociates himself from the beliefs of the Nation of Islam, and becomes orthodox Muslim. Not only does Spike Lee include Malcolm's journey to Mecca, and display his inclusive beliefs, but he includes voice overs of Malcolm X (Denzel Washington) reading the original "letters of awakening" he wrote to his wife, in which he describes his new beliefs (Febus 102). The film concludes with Malcolm returning to New York City, and the final months of his life.

Malcolm X offers a historically correct illustration of the last months of Malcolm X's life, by showing the final phase of Malcolm X's life. In the final moments of Malcolm's life and the film, Malcolm returns from his pilgrimage to Mecca, and is reunited with his family and the followers who remained faithful to him. Once in New York, Malcolm X includes the series of attempts on Malcolm's life by the Nation of Islam, and his founding of the Organization of Afro- American Unity (OAAU).

The final moments of the film show a tolerant and mature Malcolm X, and his formation of the OAAU, which sought to “provide a medium through which Americans of African descent, regardless of their socioeconomic or religious background, could coalesce to fight against the inhumane indignities allowed by the U.S. government" (Jenkins, Tryman 431). Moreover, Spike Lee includes the efforts of the OAAU, which are historically accurate, such as the pending lawsuits against the United States Government.

Lastly, Spike Lee accurately depicts the assassination of Malcolm X in the Audubon Ballroom in New York. Lee covers the assassination in accurate detail, by including: conversation that alluded that Malcolm X knew he was going to be assassinated, Malcolm's refusal of frisking attendees for weapons, and the moments leading up to the assassination, in which one crowd member yelled "get your hand out of my pocket!" to create a distraction just seconds before the shooting occurred (Jenkins, Tryman 78).

Although Spike Lee's Malcolm X provides an accurate representation of the zeitgeist of the 1940s and the four phases of Malcolm X's, the film does contain historical inaccuracies, and they must be examined in order to accurately assess the film.

Spike Lee faced a myriad of production challenges including: lack of funding from Warner Bros, challenging racial stereotypes, and representing a controversial figure in a way that would satisfy the demands of Hollywood (Winn 453). These challenges resulted in Spike Lee having to compromise the historical legitimacy of Malcolm X, in order for the film to be released. Critics of Malcolm X contend that the most inaccurate aspects of the film are the omission of important characters and quotes originally spoken by Malcolm X.

Scholars and critics often dismiss the historical significance of Malcolm X, on the basis that the film omits important characters. Those who oppose the film believe that these omissions "leave serious gaps in Lee's film" (Febus 93). One of the most heated issues pertaining to the omission of characters is the use of the character, "Brother Baines".

During the "Detroit Red" phase of the film when Malcolm is imprisoned, he meets an inmate, Brother Baines. Brother Baines is a member of the Nation of Islam, and acts a guardian for Malcolm. Throughout his incarceration, Baines encourages Malcolm to read, and join the Nation of Islam. In reality, Baines did not exist, and Malcolm learned of the Nation of Islam from his biological brothers, Reginald and Philbert (Febus 95). On the other hand, Malcolm did meet an inmate (John Bembry) who encouraged Malcolm to educate himself, but he was not a member of the Nation of Islam. Upon examining the character Baines, one learns that Baines was not a historical fallacy.

In fact, Baines was used as a composite character in order to shorten the already lengthy film, and simplify the cast, thus, creating a more concise storyline while including the educational and religious influences in Malcolm's life. Lee's use of Brother Baines as a composite character is justifiable, as it allowed the film to be accessible, and did not distort the key influences of Malcolm joining the Nation of Islam. On the other hand, the omission of quotes originally spoken by Malcolm X compromises Lee's representation of Malcolm.

Much of Malcolm X's appeal and influence was due to his highly-emotional public speaking skills (Dyson 172-173). Often revered for his rhetoric, which has been deemed everything from prophetic, to inspiring, to volatile and incendiary, Malcolm X's speeches in Lee's film are hardly any of these. In fact, many critics believe this to be the worst aspect of the film, as it does not capture the true essence of Malcolm X, and portrays him as being "subdued [and] soft" (Dyson 141). For instance, some of Malcolm's most shocking and famous quotes include: "The white man is the devil!", and saying that a 1962 airplane crash which killed 162 white people is "a very beautiful thing... We will continue to pray and we hope that every day another plane falls out of the sky" (qtd. in Febus 98).

In Malcolm X, such sentiments are not spoken by Malcolm X (Denzel Washington). By omitting Malcolm's inflammatory quotes, the audience does receive a diluted perspective of Malcolm X's rhetoric. The cause of the omission can be linked to the production challenges Lee faced. Because Malcolm X was such a controversial figure whose speeches riled crowds, authorities (including the government) feared the inclusion of such language in a film would "incite riots in theaters on opening night" (Dyson 141)!

While the omission of Malcolm's fiery quotes may lead some critics to believe that it diminishes Malcolm's influence, it does not. Instead of solely focusing on his rousing speeches to show his influence, Lee uses events and visual context to show how influential Malcolm was i.e. the Johnson Hinton incident. Now that the historical accuracies and inaccuracies have be identified and examined, an objective evaluation of Malcolm X can be offered.

Evaluation

In creating Malcolm X, Spike Lee faced an immeasurable challenge, and succeeded. He had to create a film of portraying Malcolm X, who is perhaps one of the most complex and controversial figures of the twentieth century. Moreover, Lee had to research and evaluate an astronomical amount of sources, challenge racial stereotypes, overcome financial challenges in production, risk his life by illuminating the Nation of Islam, and condense the complex story of one man's life into a film that would not only appeal to Hollywood and the general public, but challenge and educate them.

The fact that Spike Lee was able to do so is admirable, but when one evaluates the quality of the film, only then will they realize just how remarkable the film is. Spike Lee's Malcolm X is showcases his ability to produce a film that is both educational and artistic. Despite being produced more than two decades ago, Lee's film is still a significant and relevant film today. His use of cinematic techniques makes the viewer feel as if they have been transported back in time, and are experiencing life alongside Malcolm X.

Spike Lee is able to do this by paying strict attention to the music, style, and events of the era which he is portraying. Furthermore, Malcolm X includes original footage, statements, letters, events, and beliefs of Malcolm X. In acting as Malcolm X, Denzel Washington does an outstanding job of capturing the essence of Malcolm X, by studying and utilizing Malcolm X's characteristics such as his conversational tone, vocal inflections, expressions, wardrobe, and his distinct, powerful presence.

Conclusion

Malcolm X is undoubtedly one of the most complex and controversial African-American leaders of the twentieth century. To many people, Malcolm X was a “violent, power-hungry, extremist who was primarily interested in harming the white population", and to others, he will be remembered for his heroic life as a “prophetic orator [who preached] the ideals of humane community" (Powell, Amundson; Dyson 172-173). Approaching this topic objectively, one will find that the greatest factor that can explain the disconnect between these two perspectives of Malcolm X is the media.

The vast majority of people who detest Malcolm X possess a superficial understanding of his life, as a result of focusing on the media's racially-biased portrayal of Malcolm X. Conversely, the majority of advocates of Malcolm X possess a deep understanding of his life, ideologies, and the events that have shaped his life. Perhaps the greatest demonstration of this is Spike Lee's film, Malcolm X.

Spike Lee's Malcolm X challenges the general consensus of Malcolm X instilled by racially-biased media. As a result of the controversy surrounding Malcolm X, and Lee's contrasting perspective of Malcolm X, he faced a myriad of production challenges including: lack of funding from Warner Bros, challenging racial stereotypes, representing a controversial figure in a way that would satisfy the demands of Hollywood, scholars, and the Nation of Islam.

These challenges forced Spike Lee to utilize composite characters, and depict the Nation of Islam and Malcolm X in a way that would evoke an empathetic response from an otherwise apathetic audience. While some may deny and dismiss the credibility of Malcolm X, by acknowledging the obstacles Spike Lee had to overcome in order to make the film, it becomes evident that the compromises he made are justifiable, and they do not distort Malcolm X to the point of declaring his film as something that has “let Malcolm X's life be trashed” (Baraka qtd. in Nieves).

In fact, the compromises in Malcolm X have resulted in allowing a wider audience to obtain an unadulterated perspective of Malcolm X that is not found in mainstream media, thus increasing awareness of the true Malcolm X. Accusations by those who declare Lee's film as historically inaccurate are easily refuted when the sole fact that Spike Lee's Malcolm X was added to the Library of Congress' National Film Registry in 2010, as a result of being "historically significant" is taken into account (Library of Congress). Perhaps Spike Lee said it best, when he stated "this is it, this is the film I wanted to make" (qtd. in Febus 89)