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Thefall of Wilson Phillips

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Thefall of Wilson Phillips THE FALL OF WILSON PHILLIPS ·SUPERMAN R.I.P. ·'HOMEALONE' AGAIN How Spike Lee willed 'Malcolm X' THE to the screen ~ o N o o 724464 3 " , , , 111111 , -11: ENeE: Extras cast as Muslim women at.a rally in the film " B V ANN E THO M P SON p H o T o G R A p H s B y o A v o L E E SPIKE LEE'S FACE is everywhere. Two stories tall, it this is the most amount of money DESERT FORM: stares down Los Angeles' Melrose Avenue from the side of ever spent on a movie in black history, In Egypt, Denzel Spike's Joint West, the newest branch ofthe clothing em- and we had to fight to get the amount Washington,.front _porium he started three years ago. There's his face again, on we got." left, and a cast a smaller scale, on Lee's white T-shirt. And then, above that, Does it bother him that many peo- of extras set up is the real thing: beard, glasses, and intense gaze. It's a Sat- ple wearing X hats and T-shirts don't a shot of a hajj urday morning in October, and the grand opening of this know who Malcolm X really was? during the filming newest Spike's Joint. With a half-dozen camera crews fo- "Maybe wearing the hat is the first of Malcolm X cusing on him, Lee takes a giant pair of scissors and gamely step," Lee suggests, "to going to the saws at the red and green ribbons strung across the entrance. .film, going out and getting more knowledge, picking up the Then he leads everybody upstairs for a jam-packed press book and reading it." conference. Wearing a red X cap and white Nikes, he is by What does u) Acres and a Mule mean? turns dignified, funny, angry, contemptuous. This is his ele- The room goes instantly silent when Katie Wagner, a ment. In the last few months, he has launched enough con- blond and perky reporter for Britain's Worldwide Enter- troversies to keep a room full of reporters busy for hours. tainment News (and daughter of Robert), throws out this N ow they start hammering: question. The phrase, which is the name of Lee's why open a Spike's Joint on lily-white Mel- music and production company, is all over the rose instead of in a black neighborhood? "MAYBE shelves of his store, on T-shirts, caps, jackets. "I don't have to defend myself," Lee says. WEARING THE X He leans into the microphone and gives his an- "From day one everything I've done has been swer slowly and quietly, like a lecturer: "During for black people. It seems unfair that any time a HATISTHE the Civil War, slaves were promised that if they black American makes money there's a problem." FIRST STEp, " fought on the side of the Union, upon emancipa- Wasn't it irresponsible to urge black children SAYS LEE, "TO tion they would be given 40 acres and a mule as to skip school to see Malcolm X on opening day? payback for 400 years of slavery. Of course, very "Spike never said, 'Young black Americans GOING TO THE few of our ancestors ever got 40 acres and a should skip school,'" says Lee, who often speaks FILM, GETTING mule." It's the kind of history lesson white of himself in the third person. "But it's important MORE Americans shouldn't need but often do-the for families to take their kids early, because KNOWLEDGE, kind Lee loves to give. "Get her a copy of the PtCKINGUP THE BOOK" ENTERTAINMENT WEEKLY 31 book," he tells an assistant, who pulls a copy of The Autobi- white media he will lose his legitimacy with his black base." ography of Malcolm X from the shelf and hands it to the And that's the paradox of Spike Lee: The qualities so nonplussed Wagner. The 1965 book, written with author many people find irritating-the strident egotism, the racial Alex Haley (Roots), is both the starting point and the posturing, the grandstanding-are the very attributes he blueprint for Lee's movie. "Now read it," he tells her. needed to make Malcolm X a grand epic. Says one source First Wagner, now the world. With the Nov. 18 opening of close to the movie, "I've never seen a director get away Malcolm X, a passionate and stately elegy to the life of the with this much in my life." slain Black Muslim leader, Lee "Spike Lee likes to gethis way," says Malcolm X producer has written history with light- THIS IS THE END: Marvin Worth. "It's like a politician running for President. If ning. Telling a story that many In New York, Washington you become a director, it's because you want to play God." observers-black and white- and crew film a double- doubted he could do justice, he dolly shot for a scene IN THE BEGINNING, of course, Norman Jewison was turned out a film already seen in prior to that of Malcolm's God. Armed with a production deal at Warner, the respect- some quarters as a masterpiece. assassination ed director of Moonstruck and A Soldier's Story joined And he did it in classic Lee style, forces in 1989 with Worth (the bickering, complaining, and producer of Lenny and The fighting every step of the waw Rose), who had owned the movie Mostly due to his penchant for ' rights to the Autobiography publicity, the points of the story t- since 1967. Worth attracted Den- are familiar to anyone who reads zel Washington to the project, the entertainment press: how and when J ewison brought in Lee lobbied to take the picture Pulitzer Prize-winning play- away from a white director, his wright Charles Fuller (with constant battles with Warner whom he also did A Soldier's over the movie's budget and Story), it looked like the movie length, how the film's insurance might get off the ground. company threatened to shut Lee got Wind of Jewison's in- down the project when Lee volvement while working on sailed past his $28 million limit, Jungle Fever. What he did next how he embarrassed the studio established a tactic he would use by turning to wealthy black ce- throughout the making of Mal- lebrities to help cover the over- colm X: Before ever speaking to runs when it wouldn't. At almost every turn, there was Lee Worth or Jewison, he told The New York TImes that he had causing another commotion in the press, backing his adver- a "big problem" with a white man directing Malcolm X. saries into a corner. "It's wrong with a capital W. Blacks have to control these "I had to fight tooth and nail to get the film I wanted," films." J ewison held one tense dinner meeting with Lee and he says. "It's 3 hours and 21 minutes. If the film wasn't reluctantly dropped out. (He made Other People's Money the film I wanted, it wouldn't have the Rodney King for Warner instead.) Jewison has remained closemouthed footage, it wouldn't have Malcolm's statement in his speech on the topic since then, but at the time he said with some an- about not being anti-Semitic, and the American flag would noyance, "I do not talk to the press about all the possible not catch fire." movies I'm working on. Unlike Spike Lee." Lee's constant refrain that he made "no compromises" Washington was not surprised to see Jewison aced out. "I on the film is itself part ofthe hype. In fact, the tight budget had a feeling Spike would direct the picture all along," he did force some painful corner-cutting. "The studio pretty says. "He has insights into our culture. You have to know much ghettoized the movie from the beginning," complains that-to live that-to put it in a film." Lee's longtime cinematographer, Ernest Dickerson. "We've Lee struck a deal to write as well as direct and turned in ended up with a low-budget epic." Yet the fact his draft (based on a script Worth commissioned that Lee was able to make a film that even re- from James Baldwin and Arnold Perl) in Febru- motely matched his vision is a testament to the SAYS ONE ary 1991. Lee's script threads its way through effectiveness of his take-no-prisoners tactics. In SOURCE CLOSE many competing views of Malcolm X. "Every- the end, he won almost every battle. If he did it TO THE MOVIE, body's got their own version of Malcolm," says in a way that alienated much of Hollywood-and Worth, who knew him. "He was one of the most much of the general public-that was simply the "I'VE NEVER misunderstood people in history." And no won- price he had to pay. "He wants to be confronta- . SEEN A der. His life took him from a painful childhood tional toward whites," says one studio executive. DIRECTOR GET through a career as a reckless criminal, a prison "He believes that if he is not attacked by the education and conversion in 1949 to the Nation AIAYIITH THIS MUCH IN MY LIFE" ENTERTAINMENT WEEKLY 33 of Islam, and his emergence as that organization's most colm, represents the leader's own FAR AND AWAY: effective proselytizer. This was followed by his break with somewhat idealized version of his life.
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