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“Clockers”(1995) really blind-sided me.
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Spike Lee can’t necessarily claim to be the most subtle filmmaker, in fact he seems dead-set on attaining and retaining the title of “auteur,” taking that extra step to sigh the viewer that it is *indeed* a Spike Lee “joint.” Fans of his films know exactly what I mean. And, of course, his showmanship is evident. But collaborating with noted novelist Richard Ticket for a gritty indictment of black-on-black crime, the inner-city crack plague, and the oddly symbiotic relationship among drug-dealers and police in the Brooklyn Projects, has resulted in (if not his best, then) certainly his most faded film to date.
Listen, I like Spike, I’ve kept up with every movie of his so far, excluding “She Detest Me”. But even a seasoned old-fashioned such as he can accumulate better with literary influence. So great so, that the legend in “Clockers” completely overrides Spike’s typically gimmicky visual tricks and (this is why I’m most proud of this film) his unabashed preachiness he seems to need to constantly insert in his projects. The biting dialogue is there: “Dismal man say he didn’t do sun-in, you don’t possess him. Dark man say he DID do sun-in, you mild don’t acquire him.” However, Lee manages these thematics seamlessly into the plot’s progression with a spellbinding mixture of intuition and force.
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Lee shifts the focus of Price’s unusual from Rocco to Strike, a young African-American “clocker” (round-the-clock crack dealer) looking to rise in the drug-trade ranks, accelerate by his makeshift mentor Rodney Microscopic (a blistering, cunning performance by Delroy Lindo) . Rodney — persuasive as all hell — asks/tells Strike to off a worker in a fast-food restaurant for limiting Rodney’s dealing options. Hours later, the guy is listless but the crime is not shown. When Strike’s older brother Victor (Isaiah Washington) confesses to police, hardened Detective Rocco Klein (suitably staunch Harvey Keitel) doesn’t assume it and begins to suspect Strike instead.
As the investigation deepens, unexpected character traits emerge. Strike — initially seeming hard, ignorant, and aimless — actually wears that very facade to cloak the fact he’s really a stunned kid unsure of a future. This dread and stress that accompanies his job has manifested physically as a dreadful stomach ulcer that makes him double over and expel blood through the latter half of the film. Victor — the apparently virtuous, job-holding, mannerly, father-of-two — eventually reveals a risky level of resentment and hatred buried deep but slowly working its plan to the surface.
The “homo-cide” squad are first portrayed as racist, uncaring kingpins — not too unlike Rodney — that laugh and joke over bodies at the crime scene. Then Rocco and his team (John Turturro and Michael Imperioli) originate unexpected business deals with Strike entertaining crackdowns and kickbacks. Most revealing (and rather silly) is that the vast number of customers for crack in the housing project are middle-class or affluent white people.
What separates this “hood movie” from the majority are the contradictory surprises. Unexpected, yet certainly believable. Without giving spoilers, Strike’s saving grace ends up being the police he always tries to avoid. He even asks Rocco (in what I believed would be the film’s disastrous downfall) what made him care about some random “nigga killing,” and I was ready for Spike to throw the whole flick away on Keitel’s response… The response given is one of the most objective, heartbreaking, and realistic lines of screenwriting I’ve advance across yet. Bravo, Mark and Lee.
Accolades to the soundtrack. This is one of the smartest batch of tracks Lee has assembled for a film of his, and they enunciate the dreaded and narrow confines of inner-city life without drowning you in third-rate gangsta rap. In fact, all the hip-hop tracks (especially KRS-ONE’s “Outta Here”) are situation on the emotion in whichever scene they are played. Even the softer modern tracks (Chaka Khan, Des’ree, Seal) have a gentle nobility that doesn’t pander to the R&B crowd. Terence Blanchard’s orchestral/jazz glean achieves several sizable moments of favorable woe and remorse.
I accept “Clockers” to be an inquisitive, mettlesome and Soulful fragment of filmmaking. The plan in which it overlaps disheartening despair, humor-within-ignorance, poignant community drama, characters that expertly shred stereotype, and a pleasant see of hope is a masterful feat in any regard. It’s a mettlesome fade to form when your questions don’t advance with answers. What is offered is the possibility of an retort, an elaborately simple one. I expected an inner-city detective thriller but walked away with a titillating emotional maelstrom that honestly reaches the level of overwhelming. Very long sage short, “Clockers” is the film that I was waiting for Spike Lee to effect, because I knew he had it in him. I praise and commend this achievement, Mars. Anyone enthusiastic in a drastically ample film ought to hit this joint.
The DVD is barebones: trailer, production notes, bios. But the stamp is worth it to scrutinize DP Malik Sayeed’s stark and immediate photography in the theatrical 1.85:1 ratio, and crystal distinct. Decent 5.1 sound mix, as well: the music is allowed to shine.
NO MORE PACKING
With so many films based around the topic of drugs,and urban decay,and leaving the audience with a sense of (ok,I’ve seen this tale before) made me ask “IS ClOcKeRs worth my time? ” Hell yes! Spike Lee’S classic, … yes classic, is so RAW,Precise,and Remarkable that it makes all previous drug focused films seem pointless. what i mean is, most films that camouflage this topic seem to glamorize the lifestyle,and leaves no message.ClOcKeRs is the tail of A young murky male called Strike who’s plot on the benches and bleeding ulcer is getting the best of him, until his boss Rodney gives him a chance to proceed up in the drug game.When a fellow drug dealer gets killed,and Strike’s hard working (legit) brother confesses to the cancel,A detective by the name of Roco feels that there’s more to the epic. With a very raw intro and out standing directing, Spike Lee brings the realness to the veil with ClOcKeRs. so go rent it Aiight.
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