few weeks ago, Spike Lee complained to the media about the Clint Eastwood directed movie "The Flags of Our Fathers", because there werenגt any black soldiers portrayed in the movie. Spike said...
"Clint Eastwood made two films about Iwo Jima that ran for more than four hours total, and there was not one Negro actor on the screen. If you reporters had any balls you'd ask him why. There's no way I know why he did that ... But I know it was pointed out to him and that he could have changed it. It's not like he didn't know."
Note to Spike Lee: Clint Eastwood will fuck you up. The Guardian UK says...
Eastwood justified his choice of actors, saying that those black troops who did take part in the battle as part of a munitions company didn't raise the flag. The battle is known by the image of US marines raising the American flag on Mount Suribachi.
Eastwood said, "The story is Flags of Our Fathers, the famous flag-raising picture, and they didn't do that. If I go ahead and put an African-American actor in there, people'd go: 'This guy's lost his mind.' I mean, it's not accurate." Referring to Lee, he added: "A guy like him should shut his face."
Oh and thereגs more:
Defending the racial make-up in his films as historically accurate, Eastwood referred to another of his films, Changeling, which was set in Los Angeles before the city had a large group of African-Americans. "What are you going to do, you going to tell a fuckin' story about that?" he said. "Make it look like a commercial for an equal opportunity player? I'm not in that game. I'm playing it the way I read it historically, and that's the way it is. When I do a movie and it's 90% black, like Bird, then I use 90% black people.
"He was complaining when I did Bird (the 1988 biopic of Charlie Parker). Why would a white guy be doing that? I was the only guy who made it, that's why. He could have gone ahead and made it. Instead he was making something else."
Spike Lee vs. Clint Eastwood
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djjeffresh
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Why not post the entire interview?
[quote="guardian.co.uk"]Dirty Harry comes clean
Clint Eastwood talks to Jeff Dawson about race, euthanasia, politicians, capital punishment - and how he really feels about the 'fascist' role that made him famous
Friday June 6, 2008
The Guardian
Clint Eastwood folds his gangly frame behind a clifftop table at the Hotel Du Cap, a few miles up the coast from Cannes, sighs deeply, and squints out over the Mediterranean. "Has he ever studied the history?" he asks, in that familiar near-whisper.
The "he" is Spike Lee, and the reason Eastwood is asking is because of something Lee had said about Eastwood's Iwo Jima movie Flags of Our Fathers, while promoting his own war movie, Miracle at St Anna, about a black US unit in the second world war. Lee had noted the lack of African-Americans in Eastwood's movie and told reporters: "That was his version. The negro version did not exist."
Eastwood has no time for Lee's gripes. "He was complaining when I did Bird [the 1988 biopic of Charlie Parker]. Why would a white guy be doing that? I was the only guy who made it, that's why. He could have gone ahead and made it. Instead he was making something else." As for Flags of Our Fathers, he says, yes, there was a small detachment of black troops on Iwo Jima as a part of a munitions company, "but they didn't raise the flag. The story is Flags of Our Fathers, the famous flag-raising picture, and they didn't do that. If I go ahead and put an African-American actor in there, people'd go, 'This guy's lost his mind.' I mean, it's not accurate."
Lee shouldn't be demanding African-Americans in Eastwood's next picture, either. Changeling is set in Los Angeles during the Depression, before the city's make-up was changed by the large black influx. "What are you going to do, you gonna tell a fuckin' story about that?" he growls. "Make it look like a commercial for an equal opportunity player? I'm not in that game. I'm playing it the way I read it historically, and that's the way it is. When I do a picture and it's 90% black, like Bird, I use 90% black people."
Eastwood pauses, deliberately - once it would have provided him with the beat in which to spit out his cheroot before flinging back his poncho - and offers a last word of advice to the most influential black director in American movies. "A guy like him should shut his face."
Eastwood knows how to handle controversy. Four years ago, his boxing flick Million Dollar Baby, which garnered him best picture and best director Oscars (giving him five in total, including two for Unforgiven and a premature lifetime achievement gong back in 1995), was attacked by Christian groups. They had objected to the plot's "assisted suicide" of a paralysed athlete. "People who hadn't even seen the movie were saying that it's pro-euthanasia, but it wasn't," Eastwood says. "If you had asked Frankie [his character in the film], 'Do you believe in euthanasia?', he'd have probably said no. But that was the circumstances of the moment. Highly dramatic circumstances."
And 37 years ago, he starred in a film that has been a bone of contention ever since, and which is the reason for our conversation today. Dirty Harry, the film that liberals have long argued was little more than an argument for summary justice, is being rereleased in DVD form, packaged with its quartet of siblings (Magnum Force, The Enforcer, Sudden Impact and The Dead Pool), as part of Warner Brothers' 85th birthday celebrations.
Dirty Harry - the story of a cop railing against bureaucracy and pursuing criminals according to his own whim - has been so imitated that it is hard to imagine the revulsion that spilled over it upon its release. The New Yorker's critic, Pauline Kael, called it "fascist", and other reviewers heaped similar scorn on it. They wondered whether holding a .44 Magnum in a suspect's face was the best way to pursue justice; they wondered whether the San Francisco setting was a slap at one of America's most liberal cities; even the CND belt buckle sported by Scorpio, the serial killer in the film, was interpreted as a swipe at the left. With the cop thriller supplanting the western as Hollywood's action genre of choice, Eastwood was surely the political as well as cinematic successor to John Wayne.
But moviegoers took little notice of those who attacked the film. They flocked to the cinemas, Dirty Harry's dialogue passed into common parlance, and it now occupies an important if uneasy place in film history.
"Of course people built a lot of connotations into the film that weren't necessarily there." Eastwood grins. "Being a contrary sort of person, I figured there had been enough politically correct crap going around. The police were not held in great favour particularly, the Miranda decisions had come down [forcing police to read arrested suspects their rights], people were thinking about the plight of the accused. I thought, 'Let's do a picture about the plight of the victim.'"
Wayne had turned the film down, as had Steve McQueen, Robert Mitchum and various others. Frank Sinatra was set to star until, according to showbiz lore, tendonitis in his wrist prevented him from handling the Magnum's heavy recoil. "Probably just bullshit," says Eastwood. But Ol' Blue Eyes' loss was Young Blue Eyes' gain. Eastwood brought director/collaborator Don Siegel to the project. And, courtesy of a much misquoted line - "You've got to ask yourself one question: do I feel lucky? Well do ya, punk?" - the picture turned Eastwood from cowboy star into everyman icon.
That same year, Eastwood directed his first film, Play Misty for Me. With Dirty Harry having established him as Warner Brothers' surest banker, he negotiated a quid pro quo: the studio would indulge his personal projects, such as Bronco Billy or Honkytonk Man, the kind of fare that would shape him as the director we know today, as long as he kept on cranking out the blockbusters, even if that meant working with an orangutan.
Sergio Leone, who directed Eastwood in his breakthrough role in the Man With No Name trilogy of spaghetti westerns, said he liked the actor because he had only two expressions: "one with the hat, one without it". These days it would be stretching it to suggest that Eastwood's range is quite that broad, his face seemingly fixed in a beatific beam, the sort of blissful countenance that once had him pegged in a scurrilous - and erroneous - piece of showbiz gossip as Stan Laurel's love child. The skin on his cheeks certainly seems tauter than one might expect of a man of his vintage. The contentment of his autumn years or the proverbial "bit of work"? Frankly, you can only wonder.
Nevertheless, he's imposingly tall (6ft 2in), sporty-lean, and could probably knock both 10 years off the 78 he has clocked up and seven bells out of anyone who messes with him, the result of relentless exercising, a strict diet and, probably, fatherhood late in life. In an arrangement at which even Ken Livingstone might raise eyebrows, Eastwood has had seven children with five different women, including an 11-year-old daughter with his current wife, Dina. It surely accounts for the emotional content of some of his recent films, not least Changeling, which had been in competition for the Palme d'Or and, like the lauded Mystic River, concerns child abduction.
There are actually echoes of Dirty Harry in Changeling, Eastwood says, and he's not making any concessions to liberals: "I get a kick out of it because the judge convicts the killer to two years in solitary confinement, and then to be hanged. In 1928 they said: 'You can spend two years thinking about it and then we're going to kill you.' Nowadays they're sitting there worrying about how putting a needle in is a cruel and unusual punishment, the same needle you would have if you had a blood test."
The politics are evidently always simmering with Eastwood. By the time Ronald Reagan was in the White House quoting Eastwood's "Go ahead, make my day" from Sudden Impact in a speech about tax cuts ("I must have heard it about 10,000 times," says Eastwood), he was shaping up to become the non-partisan mayor of the California town of Carmel, where he was sympathetic to environmental concerns and less sympathetic to big business.
Eastwood still likes to let his views be known, often forcefully. In 2005, he vowed he'd kill Michael Moore if the documentarian ever showed up at his house, the way he had doorstepped Charlton Heston in Bowling for Columbine. This March he was sacked from Governor Arnold Schwarzenegger's California state parks commission for objecting to the building of a toll road through a national forest. But though he has been associated in the public mind with Republican viewpoints, he's something of an individualist. "I don't pay attention to either side," he claims. "I mean, I've always been a libertarian. Leave everybody alone. Let everybody else do what they want. Just stay out of everybody else's hair. So I believe in that value of smaller government. Give politicians power and all of a sudden they'll misuse it on ya."
Has he declared for anybody in this electoral cycle? "You know, I haven't really," he says. "My wife used to be an anchorwoman in Arizona, so she knew John McCain and she liked him and I kinda liked him. In fact, we sort of supported him when he was running the first time against Bush eight years ago. But we haven't been active as yet. It's kind of a zoo out there right now. So I think I'll kinda let things percolate."
These days Eastwood doesn't really look back on his old films, though he mentions a viewing of The Outlaw Josey Wales, a film some regard as his masterpiece. He meant to watch for five minutes, but ended up sitting all the way through. "The films that I've done in recent years are the ones I remember the most," he says. "I guess I'm living in the present more than the past."
One thing he has made clear is that he will definitely not be making Dirty Harry 6, despite rumours to the contrary. "Some idiot came up with some theory," he says. The crime flick Gran Torino, which he is due to film at some point, is emphatically not part of the Dirty Harry cycle. "Not at my age," he stresses. "There are certain age limits on police officers. They'd have retired me out at 65."
But there's one film project on the cards that might interest Spike Lee. Eastwood's next project, The Human Factor, is about Nelson Mandela and how he used the country's victory in the 1995 Rugby World Cup as a means of fostering national unity. Will he be sticking with the historical record on that one? He laughs. "Yeah, I'm not going to make Nelson Mandela a white guy."
[quote="guardian.co.uk"]Dirty Harry comes clean
Clint Eastwood talks to Jeff Dawson about race, euthanasia, politicians, capital punishment - and how he really feels about the 'fascist' role that made him famous
Friday June 6, 2008
The Guardian
Clint Eastwood folds his gangly frame behind a clifftop table at the Hotel Du Cap, a few miles up the coast from Cannes, sighs deeply, and squints out over the Mediterranean. "Has he ever studied the history?" he asks, in that familiar near-whisper.
The "he" is Spike Lee, and the reason Eastwood is asking is because of something Lee had said about Eastwood's Iwo Jima movie Flags of Our Fathers, while promoting his own war movie, Miracle at St Anna, about a black US unit in the second world war. Lee had noted the lack of African-Americans in Eastwood's movie and told reporters: "That was his version. The negro version did not exist."
Eastwood has no time for Lee's gripes. "He was complaining when I did Bird [the 1988 biopic of Charlie Parker]. Why would a white guy be doing that? I was the only guy who made it, that's why. He could have gone ahead and made it. Instead he was making something else." As for Flags of Our Fathers, he says, yes, there was a small detachment of black troops on Iwo Jima as a part of a munitions company, "but they didn't raise the flag. The story is Flags of Our Fathers, the famous flag-raising picture, and they didn't do that. If I go ahead and put an African-American actor in there, people'd go, 'This guy's lost his mind.' I mean, it's not accurate."
Lee shouldn't be demanding African-Americans in Eastwood's next picture, either. Changeling is set in Los Angeles during the Depression, before the city's make-up was changed by the large black influx. "What are you going to do, you gonna tell a fuckin' story about that?" he growls. "Make it look like a commercial for an equal opportunity player? I'm not in that game. I'm playing it the way I read it historically, and that's the way it is. When I do a picture and it's 90% black, like Bird, I use 90% black people."
Eastwood pauses, deliberately - once it would have provided him with the beat in which to spit out his cheroot before flinging back his poncho - and offers a last word of advice to the most influential black director in American movies. "A guy like him should shut his face."
Eastwood knows how to handle controversy. Four years ago, his boxing flick Million Dollar Baby, which garnered him best picture and best director Oscars (giving him five in total, including two for Unforgiven and a premature lifetime achievement gong back in 1995), was attacked by Christian groups. They had objected to the plot's "assisted suicide" of a paralysed athlete. "People who hadn't even seen the movie were saying that it's pro-euthanasia, but it wasn't," Eastwood says. "If you had asked Frankie [his character in the film], 'Do you believe in euthanasia?', he'd have probably said no. But that was the circumstances of the moment. Highly dramatic circumstances."
And 37 years ago, he starred in a film that has been a bone of contention ever since, and which is the reason for our conversation today. Dirty Harry, the film that liberals have long argued was little more than an argument for summary justice, is being rereleased in DVD form, packaged with its quartet of siblings (Magnum Force, The Enforcer, Sudden Impact and The Dead Pool), as part of Warner Brothers' 85th birthday celebrations.
Dirty Harry - the story of a cop railing against bureaucracy and pursuing criminals according to his own whim - has been so imitated that it is hard to imagine the revulsion that spilled over it upon its release. The New Yorker's critic, Pauline Kael, called it "fascist", and other reviewers heaped similar scorn on it. They wondered whether holding a .44 Magnum in a suspect's face was the best way to pursue justice; they wondered whether the San Francisco setting was a slap at one of America's most liberal cities; even the CND belt buckle sported by Scorpio, the serial killer in the film, was interpreted as a swipe at the left. With the cop thriller supplanting the western as Hollywood's action genre of choice, Eastwood was surely the political as well as cinematic successor to John Wayne.
But moviegoers took little notice of those who attacked the film. They flocked to the cinemas, Dirty Harry's dialogue passed into common parlance, and it now occupies an important if uneasy place in film history.
"Of course people built a lot of connotations into the film that weren't necessarily there." Eastwood grins. "Being a contrary sort of person, I figured there had been enough politically correct crap going around. The police were not held in great favour particularly, the Miranda decisions had come down [forcing police to read arrested suspects their rights], people were thinking about the plight of the accused. I thought, 'Let's do a picture about the plight of the victim.'"
Wayne had turned the film down, as had Steve McQueen, Robert Mitchum and various others. Frank Sinatra was set to star until, according to showbiz lore, tendonitis in his wrist prevented him from handling the Magnum's heavy recoil. "Probably just bullshit," says Eastwood. But Ol' Blue Eyes' loss was Young Blue Eyes' gain. Eastwood brought director/collaborator Don Siegel to the project. And, courtesy of a much misquoted line - "You've got to ask yourself one question: do I feel lucky? Well do ya, punk?" - the picture turned Eastwood from cowboy star into everyman icon.
That same year, Eastwood directed his first film, Play Misty for Me. With Dirty Harry having established him as Warner Brothers' surest banker, he negotiated a quid pro quo: the studio would indulge his personal projects, such as Bronco Billy or Honkytonk Man, the kind of fare that would shape him as the director we know today, as long as he kept on cranking out the blockbusters, even if that meant working with an orangutan.
Sergio Leone, who directed Eastwood in his breakthrough role in the Man With No Name trilogy of spaghetti westerns, said he liked the actor because he had only two expressions: "one with the hat, one without it". These days it would be stretching it to suggest that Eastwood's range is quite that broad, his face seemingly fixed in a beatific beam, the sort of blissful countenance that once had him pegged in a scurrilous - and erroneous - piece of showbiz gossip as Stan Laurel's love child. The skin on his cheeks certainly seems tauter than one might expect of a man of his vintage. The contentment of his autumn years or the proverbial "bit of work"? Frankly, you can only wonder.
Nevertheless, he's imposingly tall (6ft 2in), sporty-lean, and could probably knock both 10 years off the 78 he has clocked up and seven bells out of anyone who messes with him, the result of relentless exercising, a strict diet and, probably, fatherhood late in life. In an arrangement at which even Ken Livingstone might raise eyebrows, Eastwood has had seven children with five different women, including an 11-year-old daughter with his current wife, Dina. It surely accounts for the emotional content of some of his recent films, not least Changeling, which had been in competition for the Palme d'Or and, like the lauded Mystic River, concerns child abduction.
There are actually echoes of Dirty Harry in Changeling, Eastwood says, and he's not making any concessions to liberals: "I get a kick out of it because the judge convicts the killer to two years in solitary confinement, and then to be hanged. In 1928 they said: 'You can spend two years thinking about it and then we're going to kill you.' Nowadays they're sitting there worrying about how putting a needle in is a cruel and unusual punishment, the same needle you would have if you had a blood test."
The politics are evidently always simmering with Eastwood. By the time Ronald Reagan was in the White House quoting Eastwood's "Go ahead, make my day" from Sudden Impact in a speech about tax cuts ("I must have heard it about 10,000 times," says Eastwood), he was shaping up to become the non-partisan mayor of the California town of Carmel, where he was sympathetic to environmental concerns and less sympathetic to big business.
Eastwood still likes to let his views be known, often forcefully. In 2005, he vowed he'd kill Michael Moore if the documentarian ever showed up at his house, the way he had doorstepped Charlton Heston in Bowling for Columbine. This March he was sacked from Governor Arnold Schwarzenegger's California state parks commission for objecting to the building of a toll road through a national forest. But though he has been associated in the public mind with Republican viewpoints, he's something of an individualist. "I don't pay attention to either side," he claims. "I mean, I've always been a libertarian. Leave everybody alone. Let everybody else do what they want. Just stay out of everybody else's hair. So I believe in that value of smaller government. Give politicians power and all of a sudden they'll misuse it on ya."
Has he declared for anybody in this electoral cycle? "You know, I haven't really," he says. "My wife used to be an anchorwoman in Arizona, so she knew John McCain and she liked him and I kinda liked him. In fact, we sort of supported him when he was running the first time against Bush eight years ago. But we haven't been active as yet. It's kind of a zoo out there right now. So I think I'll kinda let things percolate."
These days Eastwood doesn't really look back on his old films, though he mentions a viewing of The Outlaw Josey Wales, a film some regard as his masterpiece. He meant to watch for five minutes, but ended up sitting all the way through. "The films that I've done in recent years are the ones I remember the most," he says. "I guess I'm living in the present more than the past."
One thing he has made clear is that he will definitely not be making Dirty Harry 6, despite rumours to the contrary. "Some idiot came up with some theory," he says. The crime flick Gran Torino, which he is due to film at some point, is emphatically not part of the Dirty Harry cycle. "Not at my age," he stresses. "There are certain age limits on police officers. They'd have retired me out at 65."
But there's one film project on the cards that might interest Spike Lee. Eastwood's next project, The Human Factor, is about Nelson Mandela and how he used the country's victory in the 1995 Rugby World Cup as a means of fostering national unity. Will he be sticking with the historical record on that one? He laughs. "Yeah, I'm not going to make Nelson Mandela a white guy."
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StormShadow
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drizzle
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you can only get the full effect of eastwood quotes by reading them in the eastwood voice
http://www.steadybloggin.com - some of these are my thoughts yo
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The Ivy League Nigga
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The Ivy League Nigga wrote:Eastwood is a tremendously boring director. I've enjoyed some of his movies, but that's despite the fact that they plod along at such a traditional, no-frills, restrained pace.
In all actuality, it's Eastwood that should not fuck with Lee.
When it comes to their movies I agree completely, but in this instance Spike Lee needs to shut the fuck up....... Anyone who has read any of my posts, all 3 of you, should know I hate Eastwood's movies.
Word. I think it was a stupid point that Lee made and Eastwood has every right to tell him to shut the fuck up, especially being that I don't see Eastwood being racist in the slightest bit.
Lee's comment back in the day about Tarantino's proclivity to write N bombs into his scripts for
was kind of on point though.
Lee's comment back in the day about Tarantino's proclivity to write N bombs into his scripts for
was kind of on point though.-
The Ivy League Nigga
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LOL... Yeah, I know.ALASKA wrote:i dont think the beef is about who is a better directer though. i think its about spike being a dick
But I saw a perfect opportunity to say how boring I think Eastwood is.
He's made some good movies, Unforgiven for example, but his directing isn't the star of the show.
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Vlad Analogue
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LilLeftBrain
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Re: Spike Lee vs. Clint Eastwood
[quote="djjeffresh"]
"A guy like him should shut his face."
[/b]
million dollar baby million dollar baby
"A guy like him should shut his face."
[/b]
million dollar baby million dollar baby
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Roy Johnson
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i agree that spike has made some of my favorite moves from do the right thing to crooklyn (personal fav) to mo better, to malcolm, to 25th hour, etc. spike is a great director. but he is also a bit caught up in the 80s and is out of line in this case calling out the outlaw josie wales. i can dig the quentin shit with the nbomb, even if i dont think that quentin is using it overboard and trying to stay true as an artist. but spike is buggin on this.The Ivy League Nigga wrote:LOL... Yeah, I know.ALASKA wrote:i dont think the beef is about who is a better directer though. i think its about spike being a dick
But I saw a perfect opportunity to say how boring I think Eastwood is.
He's made some good movies, Unforgiven for example, but his directing isn't the star of the show.
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StormShadow
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djjeffresh
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um, no.Roy Johnson wrote:No doubt. "Unforgiven" is a classic, but the rest is crap.The Ivy League Nigga wrote:
But I saw a perfect opportunity to say how boring I think Eastwood is.
He's made some good movies, Unforgiven for example, but his directing isn't the star of the show.
Letters from Iwo Jima (2006)
Flags of Our Fathers (2006)
Million Dollar Baby (2004)
Mystic River (2003)
Midnight in the Garden of Good and Evil (1997)
The Bridges of Madison County (1995)
A Perfect World (1993)
Unforgiven (1992)
Bird (1988)
The Outlaw Josey Wales (1976)
High Plains Drifter (1973)
spike is my favorite director but eastwood is up there with the best living directors right now.
I really don't understand Spike's problem with Eastwood here. This reminds me when Ken Burns did his WW2 documentary and was criticized by Hispanic groups for not showing them when the historic records showed they where dishwashers and other manual support staff. Sure it is important that troops where feed and that the Army did not allow them a more substantial role sucks but its not exactly the same as storming the beach's of Normandy, retaking the Philippines or the battle of Midway. This is just PC bullshit gone amok. Now if Eastwood where to make a movie about the civil rights movement and only showed LBJ there would differently be room to criticize.
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Roy Johnson
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The westerns are good, but I guess that's Clint's steez.djjeffresh wrote:
um, no.
Letters from Iwo Jima (2006)
Flags of Our Fathers (2006)
Million Dollar Baby (2004)
Mystic River (2003)
Midnight in the Garden of Good and Evil (1997)
The Bridges of Madison County (1995)
A Perfect World (1993)
Unforgiven (1992)
Bird (1988)
The Outlaw Josey Wales (1976)
High Plains Drifter (1973)
spike is my favorite director but eastwood is up there with the best living directors right now.
The rest is pretty much all crap. I wouldn't take any of those DVDs if they were free.
LOL at these:
Letters from Iwo Jima (2006)
Flags of Our Fathers (2006)
Mystic River (2003)
Midnight in the Garden of Good and Evil (1997)
The Bridges of Madison County (1995)
I'm a huge fan of war films, and people kept telling me that "Flags Of Our Fathers" and "Iwo Jima" were pieces of shit, but I went ahead and checked them out anyway. Big mistake.
"Mystic River" is pure unadulterated faggot shit. That scene where Sean Penn cries like a bitch? Some of the worst acting that I have ever witnessed. God damn did that movie suck.
I've never seen "Million Dollar Baby" because a movie about dyke boxers doesn't really appeal to me. Maybe that's the one I'm sleeping on, I don't know.
If Clint is involved and it ain't a western, I don't want no part of it.
I noticed that you didn't list "True Crime", or "Space Cowboys", or "Absolute Power", or "Heartbreak Ridge" with Mario Van Peebles, or "The Rookie" with Charlie Sheen. LOL.
An endless amount of faggot shit, son. The sad thing is that I've seen pretty much all of it at some point.
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Money Gripp
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Agree with you on Do The Right Thing being very overrated, but not even Unforgiven can fuck with Malcolm X, which is his masterpiece.bmurf75 wrote:Spike Lee has made some really shitty movies. Girl Fucking 6! Do The Right Thing is terribly over rated. They destroyed that guy's restaurant and you all cheered. Fuck you Spike Lee. Eastwoods bests, are better than Spike Lee's bests.
It was what happens to Radio Raheem in "Do the Right Thing", not the restaurant being destroyed that was the important part of that movie. If you missed that then I don't know what to tell you.Money Gripp wrote:Agree with you on Do The Right Thing being very overrated, but not even Unforgiven can fuck with Malcolm X, which is his masterpiece.bmurf75 wrote:Spike Lee has made some really shitty movies. Girl Fucking 6! Do The Right Thing is terribly over rated. They destroyed that guy's restaurant and you all cheered. Fuck you Spike Lee. Eastwoods bests, are better than Spike Lee's bests.
I think "Do the Right Thing" was a very important movie. It seems overrated now because time has passed, but at the time shit was necessary.
The thing with Lee is that because he's always dealing with race in his movies and in his private life people (white people) have a tendency to think he's just playing the race card all the time.
Unfortunately for Spike, I think his remarks weren't thought out so this will play right into people's criticism of him. So yeah he basically should have just kept his mouth closed.
[i]Styles can be applied quickly to selected text.[/i]
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Roy Johnson
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Tell me about the Clint non-westerns that are fucking with these flicks:bmurf75 wrote:Eastwoods bests, are better than Spike Lee's bests.
Do the Right Thing (1989)
Mo' Better Blues (1990)
Jungle Fever (1991)
Malcolm X (1992)
Crooklyn (1994)
Clockers (1995)
Get on the Bus (1996)
The cut-off point for me is 1996. I thought that "Summer Of Sam", "He Got Game", and "25th Hour" were horrible. It's been about half a dozen years since I checked for any new Spike Lee movies. He's still a legend for his 1989-1996 run of dominance, though.
Spike Lee = De La Soul of cinema.Roy Johnson wrote:Tell me about the Clint non-westerns that are fucking with these flicks:bmurf75 wrote:Eastwoods bests, are better than Spike Lee's bests.
Do the Right Thing (1989)
Mo' Better Blues (1990)
Jungle Fever (1991)
Malcolm X (1992)
Crooklyn (1994)
Clockers (1995)
Get on the Bus (1996)
The cut-off point for me is 1996. I thought that "Summer Of Sam", "He Got Game", and "25th Hour" were horrible. It's been about half a dozen years since I checked for any new Spike Lee movies. He's still a legend for his 1989-1996 run of dominance, though.
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The Ivy League Nigga
- Posts: 2701
- Joined: Mon Oct 17, 2005 10:37 pm
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