Lee's semi-mysterious `Clockers' is a movie with a message
But it's still one hell of a movie.
The story revolves around "Strike" (Mekho Phifer), a "clocker" (drug dealer) who is compelled by his boss to murder another dealer who's been cheating him. After that, Strike is tormented on one side by Rocco Klein (Harvey Keitel), a very persistent homicide detective, and on the other by his boss, Rodney Little (Delroy Lando), who'll do anything to make sure Strike stays quiet.
Clockers is based on a novel of the same name in which there is probably more focus on the murder-mystery aspect of the plot. Lee has made a conscious choice in this film to focus more on Strike's struggle to get out of the dangerous situation he is in. In so doing, Lee sets the stage for the primary theme for the film: self-destruction in both the individual and in the black urban community.
This theme is examined in two subplots. In the first, Strike takes on a 12-year-old apprentice and begins to teach him the trade, while the boy's mother desperately tries to pull her son back. In the second, a once-powerful drug dealer, afflicted with AIDS from needle-sharing, tries to prevent Strike and his protégé from getting in too deep.
As for the style of the movie, Lee uses many elements that he has used in previous films, such as Do the Right Thing and Malcolm X . There are many things unique to this film that stay in the viewer's mind long after the movie is over: the viewpoint shots, where a situation is seen through the eyes and imagin- ation of a character; the harsh lighting of the police interrogation room; a virtual reality video game that foreshadows the movie's end. It's similar to Natural Born Killers in its variety of stylistic ideas, but with just a little more subtlety and a lot more coherence.
Newcomer Mekho Phifer's performance as Strike is only average compared to those of veterans Harvey Keitel and John Turturro (who plays Rocco's partner). One exceptional surprise in the cast is Isaiah Washington as Strike's brother, Victor.
The movie's major flaw is its inability to maintain any level of mystery. From the moment the crime is committed, it seems obvious who pulled the trigger, and one forgets that there's any mystery to it at all. So, by the film's end, when the presumed murderer winds up innocent, the viewer is more confused than surprised. Lee turns the focus of the movie from the mystery to Strike's struggle to get out of the situation alive, and when Lee tries to bring us back to the mystery at the end, it just doesn't work.
But anyone who sees Clockers won't remember it for its high drama or suspense; the unusual pace and style of the film are what make it entertaining.
Beyond entertainment, there's a message that Spike Lee is putting forth. And whether or not you care to absorb the message, you'll certainly appreciate the way in which the message is expressed.
This item appeared in the Arts & Entertainment section of the September 22, 1995 issue.
Copyright © 1996 The Rice Thresher. All Rights
Reserved.
This document may be distributed
electronically, provided that it is distributed in its
entirety and includes this notice. However, it cannot be reprinted
without the express written permission of:
The Rice Thresher, Rice University, 6100 Main, Houston, TX 77005-1892, USA.
The Thresher Online Project -- ethresh@listserv.rice.edu