User reviews

A great movie if overlong and slightly unfocused.

Washington carried the film with a great performance worthy of an Oscar nomination if not a win which might have been guaranteed had the director managed to focus.

Spike Lee did a good job as director which is saying a lot, given the historical scope, danger of offense, and controversy of the project. His one weak area in this film was editing. There is no reason this movie couldn't have been half an hour shorter. Right off the bat, there were unnecessarily lingering camera shots and scenes that could have omitted. Off the top of my head, I'm thinking of Spike himself sliding under a woman's skirt and mugging the camera. That scene not only failed to further the story but instead made the audience stand up and say, "Hey, that's Spike looking at us!" Lee's biggest editing mistake was based on his desire to tell the story of Malcolm X AND tell the story of the African-American experience. That's more than enough for several movies so why cram it all under one title? After a clear scene illustrating X's life, Lee would move to a large dance hall to illustrate the richness of the African-American experience. A quick shot of the dance hall would have been sufficient. Instead the far away shots were maintained for too long and when the focus moved back to specific characters it moved to the character played by Lee himself. Why? I don't know. It certainly didn't help us to understand X any better. The ending with children saying "I am Malcolm X" also went on too long and should have been part of a separate feature. The cameos were distracting. The movie could have been tighter, shorter, and better except that Spike Lee wanted to put everything, including the kitchen sink, into it.

That being said, it is a great movie and I'm glad I invested the three and a half hours to watch it.

I think the major success of Alex Haley with this movie is that he tells the story of a dynamic person known as 'Malcolm X' with such a skill that no man from any part of any society get his feelings hurt. I think it is a commendable effort from Alex Haley, Spike Lee and Danzel Washington that they made a hero out of Malcolm X. I think he deserved it because he was the man who was not after money or popularity......he changed his statements, his way of life , even his faith as he knew that those were true. The theme of the movie is very clear that Malcolm X was not a hardliner rather he was always open for truth. Secondly, it also emphasized though in the end that negotiations and reforms is a better way than the violence. But yet it also gave the message that the ruling races reap the violence which they breed themselves; sometimes in the hegemony of their power or sometimes due the wrong interpretation of their religious verdicts. I think it was right to hit at the ' Black organization known as nation of Islam' and Elijah Muhammad. Muslim community is itself greatly indebted to this movie because Elijah Muhammad's teaching were very far from Islam. The real Islam practiced worldwide does not believe in the continuance of prophet-hood after Muhammad (P.B.U.H)and the Black supremacy by Elijah Muhammad was a ridiculous idea as Islam does not believe in Nationalism. Any Muslim anywhere in the world whether black or white are equal in Islam's teachings. It was great to see the scenes of pilgrimage to Makkah ....... these were not unnecessary ......because they helped us to understand the sudden change in the teachings of Malcolm X. Denzel's acting is really superb and also that of Al Freeman Jr. I think this movie is an invaluable resource for the people who want to take an insight into the Malcolm X's life.

Outstanding film, with brilliant work from Washington in the title role. Lee's direction is excellent and, despite being a tad preachy at the end, this is without a doubt his penultimate picture. The supporting cast also is great with fine performances from Angela Bassett as Betty Shabazz and the marvelous Al Freeman, Jr. as Elijah Muhammad. It's a terrific spiritual and emotional journey of a young black man in mid-20th century America. The fact that it is taken by a man who contributed so much to our history as Americans makes it all the more special. I urge all lovers of cinema- and history- to take this journey for themselves.

A stunning performance by Denzel Washington (Oscar-nominated) carries this film literally into cinematic excellence. He stars as the titled character, the controversial Black Nationalist Leader who is easily one of the most interesting people who lived during the 20th Century. Spike Lee's uncompromising direction focuses on X's life. From his very early childhood to his violent death, the audience is given lots and lots information on the character as the film runs about 195 minutes. A good supporting cast helps, but this is Washington's show from the very start. His performance is very dominant and this is easily one of the best jobs that was never honored with an Academy Award. Brilliant biopic. 5 stars out of 5.

As I watched MALCOLM X, I was surprised how much I liked the film and how interesting it was. So interesting, in fact, that I soon was inspired to read "The Autobiography of Malcolm X" that was compiled and written by Alex Haley. Then, I read a rather interesting (warts and all) account of Malcolm X's mentor, Elijah Mohammad.

From what I have since learned from these and other sources, I was quite impressed at the movie--it seemed to try very hard to get the story right. Malcolm X's life was neither over-glorified nor was he portrayed the opposite--the story seemed to be quite balanced and without a serious ax to grind. It would have been easy to make the movie just an attack on the Nation of Islam or an attempt to make the title character some sort of saint.

As for the acting, it was super. The script, excellent. The direction, first-rate. An excellent film that everyone should see--it is fascinating from start to finish.

I was only familiar with the history and influence of Malcolm X before I saw the film so I can't really judge it's faithfulness or accuracy. But as a film, I thought it was great. I really like Spike Lee; he keeps things fast-paced and interesting with his camera angles and colours/lighting. For awhile after Malcolm first begins his activism with the nation of Islam, you find yourself conflicted, both respecting the man and often disagreeing with him. Lee handles it well without condemning or supporting really, just showing Malcolm's gradual transition in his beliefs. The inserted documentary footage, especially at the end, shows how Malcolm's words still relate today. Someone commented that they only watched an hour of the movie and Lee doesn't know how to tell a story but maybe if they would be slightly more open-minded, realize it's not a literal adaptation of the autobiography, and actually finish the film, they could understand that Lee does not just want to tell the story of one man but rather wants it to reflect the struggle of a race. I really enjoyed the film; it was long but never slow and definitely worth watching.

With Malcolm X, director/co-screenwriter Spike Lee has produced a true-to-life biopic on the title character who was first a strident advocate for the American Nation of Islam during the 1950's and early 60's, later becoming an extremely high profile human rights activist during the civil rights movement, before his assassination in 1965.

The film dramatises key events in Malcolm X's life with the main thread beginning with his post war criminal career and later conversion to Islam whilst in jail, which directly led to his assumption of the identity of Malcolm X . Defining childhood incidents, including his father's death, his mother's mental illness, and his experiences with racism are dramatised in (ironically) brief flashbacks, considering the elephantine length of the rest of the film.

From my understanding of the life of Malcolm X, Lee has stuck closely to the facts in constructing his biography. I believe there is only a limited amount of fictionalisation for artistic and dramatic licence. For that, I guess many will be grateful. Lee has also recreated the roughly two decades the film's story covers, extremely authentically. The sets and costuming are first class, with occasional pieces of newsreel footage and still photos supplementing that of his own filming. The performances are uniformly outstanding. Denzal Washington must have been desperately unlucky to miss out on the 1992 Academy Award for his powerful, central portrayal of the conspicuously, hard-nosed and divisive X.

For me though at 202 long minutes, this film is too dragged out and warranted tighter editing. The first act focusing on his early life of crime in Harlem and later Boston is for instance, needlessly protracted with interesting, but ultimately quite unimportant night club dancing and musical interludes. Could it possibly be that its prolonged appearance is due to Spike Lee himself, appearing in this section as a supporting character?

Malcolm X is a technically well-made, obvious labour of love for Lee, but I think it may have reached wider audiences if edited to a more manageable, less indulgent length.

Spike Lee struggled mightily to get 'Malcolm X' made, financially and artistically. But when all was said and done, he produced an epic blockbuster and a definite treatment of the man's life.

There's great differences between the two as well, but to me Lee has many things in common with Oliver Stone. Both of them seem to have been born to make films. Both of them are uncompromising in bringing their artistic (and moral) vision to the screen, and neither will try to seduce the public by catering to their tastes. Both present their own interpretation of facts without apology. (For example, from what I've read it's not certain that Malcolm's father was actually killed by Klansmen. But Lee isn't in the same league as Stone when it comes to playing fast and loose with the "truth.") Stone even ends his movie 'Nixon' in a similar way to 'Malcolm X,' with footage of real-life figures blended in, though I'm not accusing Stone of imitation.

This movie has an epic sweep and scope and as a director Lee is up to the challenge. He is served well by being able to direct in several styles, one of which is almost cartoonish: witness the scene where Malcolm (Denzel Washington) and Shorty (played by Lee himself) go stepping out at the Roseland Ballroom, resplendent in their zoot suits. Some comic relief is welcome at times because otherwise the serious, heavy message of the picture might be overwhelming. For instance, the movie opens with a full-screen shot of an American flag while we hear a voice-over of one of Malcolm's most rousing, or inflammatory speeches, depending on how you look at it ("I accuse the white man of being the greatest murderer on the planet!") The flag begins to burn and eventually forms a flaming 'X' as the fiery rhetoric continues. But if you haven't been scared away, the next scene shows the young man Malcolm Little in a funny situation, having his hair straightened by a concoction that threatens to burn off his scalp.

Denzel Washington has won beaucoups of rightly-deserved accolades for his amazing performance in the title role. If you've ever heard or seen Malcolm X's speaking, you will be astounded at the similarities in tone and cadence. The illusion is so real one may not recognize that real archival footage of Malcolm is used late in the film. But this is not a case of style over substance here. Between Washington's talent and Lee's directing and screenwriting, an unforgettable character emerges. The film boasts other fine performances by Al Freeman, Jr. (especially good as Elijah Muhammad, a controversial figure in society, and eventually to Malcolm himself), Delroy Lindo, Albert Hall, Kate Vernon, Ernest Thomas and many others in its large cast.

It's clear that Lee doesn't care for the Motion Picture Academy and they don't particularly care for him. But the snubbing he and his picture got at Oscar time would be comparable to Richard Attenborough and 'Ghandi' not being nominated the year that film was made. Ordinarily, one would think this film is the kind of production Hollywood loves to honor. But Academy Award nominations or not, the film 'Malcolm X' is like the man himself: impossible to ignore.

Right from the opening credits in which an American flag slowly burns to form a letter 'X', this biography of the title human rights activist from Spike Lee is riveting viewing throughout. The film's strongest asset is Denzel Washington's lead performance; he undergoes several character progressions throughout as the film documents his whole transformation from convicted criminal to angry protester to revered public figure. The film benefits from some magnificent editing too with well-melded, dreamlike childhood flashbacks, a clever cutaway in which Washington imagines throw a cake in a condescending young man's face and some very deliberate cutting in a scene in which he looks up the definitions of 'black' and 'white' in the dictionary (probably the most potent part of the entire movie). The Oscar nominated costumes (zoot suits in particular) are great too. What does not quite work so well though is Lee's choice to unabashedly celebrate the title character. The sentimental epilogue seems ill-judged. Also, given how callous Malcolm is shown at times (coldly telling a sympathetic young white woman that she cannot do anything to help his cause) and how close-minded he is on certain issues, he always seems like more a deeply flawed man with his heart in the right place than a leader worthy of Lee's celebratory treatment. Never to mind, the film is engaging the whole way through, regardless of how one views the title character, with nary a boring moment to be had - which is a quite remarkable achievement for a that film clocks in at over three hours in length.

Reaching his apex of greatness, Spike Lee created a perfect biography of the Black Nationalist leader. In the title role, Denzel Washington literally becomes the character. From the opening, when he accurately accuses the white man of all the injustices that the white man has perpetrated, to his conversion to Islam (and rejection of his slave surname), to his eventual assassination, the movie is top-notch in every respect.

Having read Malcolm X's autobiography, I can affirm that the movie followed it very closely. Reading his autobiography will actually help you understand him even further. As will his indication that African-Americans bled for the white man in Korea, Japan, Italy, etc., so why shouldn't they bleed for their freedom at home? Anyway, "Malcolm X" is a perfect movie in every way.

This movie was entertaining and did justice to Malcolm x but it didn't have much of an angle to it. It seems like spike Lee just wanted to adapt his autobiography word for word. The film would've been more interesting if it focused on one particular part of his life, like Steven Spielberg did in "Lincoln" instead of giving equal attention to everything. It's just the film felt like a documentary at times.

Watching as Spike Lee ever so eloquently document the life of this icon was life changing. That along with what I think is the most amazing acting of Denzel Washington's career made this movie an instant classic.

It's impressive this biopic, "Malcolm X," works as well as it does given its rather difficult production, beset by outcries on all sides as to the portrayal of the controversial historical figure, and given its 3-hours-plus length by a writer and director, Spike Lee, who has been criticized for his bluntness and excessiveness, at least occasionally, and a star, Denzel Washington, who is often celebrated more the more over-the-top his performances. Yet, the film is remarkable for its relative restraint and balance. We see all sides of each, and, ultimately, I think we mostly experience the best of them.

There's the Malcolm Little born a son to a preacher harassed by the KKK and murdered, to be raised in a discriminatory system of foster care; "Red," the zoot-suit-wearing lover of a white woman who becomes a gangster; the prisoner converted to the Nation of Islam and to civil-rights minister "Malcolm X"; and, finally, the more tolerant and cooperative Muslim activist out to lead his own mosque before his assassination. Lee seems to revel in the free-flowing zoot suit and gangster parts--even casting himself as a sidekick, and he mostly reserves his usual didactic overkill this time--making sure to connect past to present racism--to the opening (including footage of the beating of Rodney King) and an ending that admittedly helps cleanse the palate from the protagonist's tragic death, as well as including images of wealthy African Americans who donated money to bring the production to completion (plus, who can say anything bad about a cameo from Nelson Mandela). For the most part, Lee lets the compelling narrative of Malcolm X be told. Arguably, even, America's history of white supremacy doesn't receive enough criticism throughout the film. In the later parts, the Nation of Islam and Elijah Muhammad, instead, come across as the picture's main foes (which makes it all the more odd that the Fruit of Islam provided security for the film) while the FBI eavesdrops under its COINTELPRO program of undermining American civil-rights and political organizations.

As for Denzel Washington's performance, I think there's a good case for his being robbed of the Oscar. That year, as typical, the Academy awarded an actor, Al Pacino, for overblown histrionics. Likewise, it took Washington ranting and raving in "Training Day" (2002) before he was awarded the Best Actor Oscar. Despite criticisms of extremism and the natural focus on speechifying the part requires, such tactics wouldn't work for playing Malcolm X. There are moments requiring silent reflection and intelligent argumentation. In the end, it turns out that Spike Lee and Malcolm X are more moderate in their radicalism, ultimately compromising within larger systems seeking progress, whether they employ traditional filmic storytelling and hagiography or try to cooperate with other civil-rights leaders like Martin Luther King Jr., than some give them credit for.

"The nation was founded in the late '20s by traveling salesman Wallace D. Fard, whose preachings combined Islam with an Afrocentric cosmology. He taught that blacks are descended from Shabbaz, a tribe that came from the moon 66 trillion years ago, and that whites were the laboratory concoction of Yakub, an evil scientist."

FROM: http://slate.msn.com/id/1075

9/10ths of the way into this movie, I was thinking "I can't believe it. Spike Lee actually has the balls to tell this story truthfully" and expose the Nation of Islam for what it really is: a lying, racists, hate cabal, that murdered Malcolm X.

But just short of the end, he (Spike) just had to throw it in; The Nation Of Islam could not have murdered Malcolm X without help from "The Man". In this case, as usual; the CIA. Forget that there are no actual facts behind this claim, it just NEEDED to be thrown in.

I'm tired of Hollywood re-inventing history. You think the Nation of Islam is just another religious sect? You think Louis Farrakhan is just another " religious" leader? You need to consider that this anti–Semite claims that white people were created in a laboratory in Mecca around the year 1000, and are all decedents of the devil. Look it up, I'm not kidding.

http://slate.msn.com/id/1075

Why is none of this mentioned in the movie, I wonder?

This was a stirring tribute of a film that to this day still stands the test of time even after its release more than a decade ago. This was in fact a autobiography and educational film which some of the most electrifying performance ever displayed on film,and it is the reason to see why. This was Denzel Washington's finest piece of work and most notably the best of his career in which he should have been nominated for Best Actor Oscar category,instead of his work which he won the Best Actor statue for 2001's "Training Day". Anyway,"Malcolm X",was a brilliant tribute to the controversial black activist,a leader in the struggle for black liberation as well as black pride and one of the most outspoken individuals who had a different side of the civil rights movement where a time when America was at war with itself.

Based on the best-selling autobiography by Malcolm X and Alex Haley,and with spellbinding direction by Spike Lee,it traces the story of Malcolm himself,from his days as a hustler and drug runner and hitting rock bottom during his imprisonment in the 1950's,he became a Black Muslim and then a leader in the Nation Of Islam under the guidance of the honorable Elijah Muhammad. His assassination in 1965 left a legacy of black nationalism,self-determination and racial pride that continues to the day and within a new generation whom for the first time has witnessed a masterpiece of cimematic work. This is marked by strong performances throughout with powerful direction by Spike Lee,cimematopgrapher Ernest Dickerson,and riveting breathtaking performances by Denzel Washington,Angela Bassett,and most notably from Al Freeman,Jr. as Elijah Muhammad. The real centerpiece of the film is from Denzel Washington himself,whose convincing performance in the title role brings this film alive. When this film came out,it only receive one Oscar nomination but however,the film garnered a lot of awards including the NAACP Image Film Award,The New York Film Critics Award for Best Actor,The Los Angeles Times Film Award for Best Director and Best Actor,and MTV Movie Awards for both Denzel Washington and Al Freeman,Jr.--all of this happened in 1992,when the film came out.

As far as the cameos go,this film had a lot of them in one picture including Black Panther Bobby Seale,Reverend Al Sharpton,The Honorable Nelson Mandela,Reverend Jesse Jackson,along with Hollywood walk-ons: Christopher Plummer,Karen Allen,Peter Boyle and Danny Glover,and Whoopi Goldberg.

Brilliant!-Five Stars

Clint Eastwood's "Unforgiven", the major winner of the Academy Awards in 1992 for best director and best film, is good solid film-making. However, "Malcolm X", produced and directed by Spike Lee and starring Denzel Washington in the title role, is a bona fide masterpiece--a 20th century film equivalent to a masterwork of the Renaissance. Certainly, it may be unfair to evaluate the two films against each other, but since one received much more acclaim than the other during the year of its release, it begs comparison. However, it's like comparing a Caravaggio with Michaelangelo's frescoes atop the Sistine Chapel. The first is certainly exceptional but the latter is a magnum opus. "Malcolm X" is Spike Lee's Sistine Chapel. Like Selznik's "Gone with the Wind" or Welles' "Citizen Kane", "Malcolm X" may be hard to top.

The only thing equally as superb as Washington's acting is the directing and the script, which is at once honest and compelling. Except for a coda at the end that seems at odds with the rest of the film, the script is near perfect, relying heavily on true accounts of Malcolm X's life instead of altering the story to fit prescribed entertainment values, a bad habit of Hollywood filmmakers. Instead, Lee and Washington rely on Malcolm X and his history as the guiding force behind the film. Many of the incidences portrayed in "Malcolm X" actually happened, from his father being assassinated on railroad tracks, to the young Malcolm being involved with drug dealing to his rise as a star among the Nation of Islam, or so-called Black Muslims. In one scene that is history and not fiction, Malcolm X orders his entourage of male associates to stand outside a hospital when a fellow Muslim, Brother Johnson, requires medical attention.

Malcolm Little was an African-American, the son of an assassinated preacher whose family had sustained vicious threats from the KKK. As a young man, he relocated to Harlem and became a streetwise hoodlum involved in crime gangs. Racketeering, gambling, prostitution, and drug dealing were his first religion. Then after an incident with white girls that landed himself and his associate Shorty (Spike Lee, perfectly cast) in jail, he meets a member of a new religious organization claiming kinship with Muslims in the Middle East and re-claiming their African roots.

Headed by the honorable Elijah Muhammad who had converted to Islam and brought the religion (or at least his version of it) to the United States as the Nation of Islam, the so-called Black Muslims (although they do not refer to themselves as such) lures Malcolm into a new world of honesty, compassion, and purpose. To the their credit, the religious organization gives Malcolm Little, now renamed Malcolm X, a sense of purpose, an identity, a loving community, and rehabilitation from the vices that were destroying himself in Harlem.

After his conversion, he becomes a prominent voice among the sect, a spokesperson for the honorable Elijah Muhammad and his message of religious determinism. Simultaneously, they also preach dangerous messages including that all white folks are devils, and that the honorable Elijah Muhammad is to be obeyed without question. As the spokesman of their cause against whites, Malcolm X in some ways becomes the darker side of Martin Luther King, Jr who propagated that proclaiming African-American superiority was as sinful as proclaiming white superiority. The press dubbed Malcolm X the "angriest man in America".

Washington does more than just portray Malcolm X, he becomes him. Washington, I imagine, must have studied footage of his speeches and spoken with people who knew him. Speeches of the real Malcolm X as compared to speeches in the film as enacted by Washington are almost indistinguishable. His performance ranks as one of the top two or three performances by an actor in the history of the performing arts and cinema, up there with Ben Kingsly as Gandhi, Orson Welles as Charles Foster Kane, Laurence Olivier as Hamlet, and Vivian Leigh as Scarlet O'Hara.

The turn in the film occurs when, in the wake of the assassination of President John F. Kennedy, Malcolm makes some ill-conceived remarks to the press. Malcolm X further learns that Elijah Muhammad is not practicing all that he preaches. The star of the so-called "Black Muslims" begins questioning not only his role but the integrity of the entire movement. He then makes a pilgrimage to Mecca, required at least once in the lifetime of a Muslim. His pilgrimage changes many of his views.

It's hard to describe this film without using many superlatives, but if there was ever a film that deserved it, it's "Malcolm X". Washington and Lee do a tremendous job of neither vilifying nor idealizing Malcolm X, the man. In retrospect on the man, I think Malcolm X began to realize he could serve a higher purpose to help unify rather than divide the races. In the end, Malcolm X began to encourage that dream, but, like Martin Luther King Jr, his mission was cut short. As for the film, it is an honest tribute to one of the most memorable figures of American history. And like the man himself, the work may only be appreciated by later generations. Malcolm X is the embodiment of the American story.

For he/she is nothing but a hate monger himself/herself and doesn't realize that Malcolm X is probably one of the most misunderstood, but influential black leaders in history. Throughout the course of the movie, we see Malcolm go through a transformation from street hustler, to convict, to positive black leader. Malcolm X was only violent and hateful towards white people until he made his pilgrimage to Mecca, the holiest city of Islam. When he got there he never saw so many people of many different races worshiping Allah. It was then that he decided to change his views of race. After that, it was then that he realized the mistakes that he had made and decided to break off his relationship with Elijah Muhammad and the rest of the Muslims, who in fact were the real hate mongers and that's why they later killed him, because he didn't feed on hate anymore.

Another thing about director Spike Lee. Spike Lee is in fact, probably one of the most under-appreciated African-American directors in Hollywood. His movies have many underlying messages about race in America. It's a shame that his movies are so under-appreciated. Sure his movies are "critically acclaimed", but that doesn't mean that people are actually getting the messages he is trying to send. The same goes for John Singleton and The Hughes Brothers.

Malcolm X cannot truthfully be said to be one of Spike Lee's best films, but it was an important step for him, perhaps the most important one of his career. This biopic, and Spike's fifth full-length feature, makes only partial sense as a follow-up to his greatest classics, Do The Right Thing, Mo' Better Blues and Jungle Fever, the three films in which he created and developed his unique voice and made a name for himself as one of the most prominent independent filmmakers in the US; Spike's own voice can barely be heard in Malcolm X, and his usually immediately recognizable trademarks are tough to point out. The reason is that for the first time in his career Spike Lee took a step back, and he is not the dominant personality in the film; the dominant personality is Malcolm X himself, and Spike let Malcolm's voice be heard throughout the film louder than anything else.

So Malcolm X is less a work of art and more a statement than Spike's previous films. It's scope is immensely larger than anything he did before – it does, after all, span 200 minutes – and is therefore, naturally, not as tight and focused as Do The Right Thing or Jungle Fever; but in Malcolm X Spike tackles head on the very subjects he treated with symbolism and subtlety in those films, and it was therefore a natural and important progression for him, and a logical continuation of those movies, and in it he proved that he has more than one voice. In a biopic, and for that matter, in any docu-drama, the most important factor is for the director to care about the subject, and I'm yet to see a director who's more passionate about his subject than Mr. Lee.

Malcolm X boasts a huge ensemble casts, with wonderful performances by Delroy Lindo, Angela Bassette, Al Freeman Jr. (in a harrowing performance as Muslim extremist Elijah Muhammad) and Spike Lee himself – but the movie is still entirely Malcolm X's, and therefore Denzel Washington's. Spike's protégé gave a lifetime performance in Mo' Better Blues two years earlier, but he surpassed it with his gut-wrenching portrayal of Malcolm X, which earned him an Oscar nomination (unfortunately lost to Al Pacino in Scent of a Woman) and based him as one of the best actors of his generation.

Although Malcolm X is not Spike Lee's best film, it's an important film that needed to be made, and it's a good thing that Spike was the one to do it. More than it's an impressive, moving, beautiful movie – and it is - Malcolm X's story is a story that must be heard, and this biopic is a film that, truly, every cultured and intelligent person needs to watch.

I heard Malcolm X speak at Berkeley in 1963, the year of Kennedy's assassination, albeit before that terrible event. I remember that tall, intense, lean man striding to the microphone and beginning with, "Brothers, friends...enemies." This film is a fine but flawed work which creates a confusing and often confused picture of a very complex man. The Black Moslem movement is a significant political event in our nation's history. Lee's portrayal of Malcolm X, however, is much more Lee than Malcolm X. This film is long, repetitious and often tedious. The coda is distracting, unnecessary and borders on the maudlin. However, Lee presents but misunderstands the turning point in the life of the late Malcolm X, i.e., the change from a political icon, mouthing the half-baked, jingoistic half-truths of Elijah Mohammud into a man who underwent a profound religious experience. Many Black Moslems are an anathema to mainstream Moslems; this distinctive African-American movement is willing to lay all the ills of the African-American's treatment at the door of the "whites." This is not religion; it is politics and has little to do with the religious tenets of Islam. The accusation of Elijah Mohammud that Christianity is a "white man's religion" and Judaism is practiced by Jews who "exploit Black people," is pure nonsense. The origins of Christianity, Islam and Judaism have common roots among the Semitic peoples, Arabs and Jews, and it should be remembered that it was Islamic Arabs who ran the Slave trade that sold many of the West African ancestors of African-Americans into bondage in the Americas. In fact, the international slave trade feeding slaves into the productive leg of the old Trade Triangle was created by the Portuguese colonization of Africa. But, facts rarely enter into consideration where idealogy is concerned. Islam is a religion where the "law (sunni)" is part and parcel of everyday living, as it is in Judaism, (i.e., no division of 'church' and 'state') bespeaks of its desert origins based on a system of tribal ownership of wells. My point is, the Black Moslem movement was a political movement (and largely, still is) where the religious component has been greatly misrepresented. The misconception and misrepresentation of Islam as a Jihadic or militant religion persists today in the anti-Arab attitude reflected daily in our public news media. Unfortunately, Malcom X's diatribes during that his political period did precious little to remedy the situation. Sadly, only after Malcolm X had made his hajj, did he come to realize that people are people and the real monster is the hatred people create for other people. Spike Lee is a fine film maker. In spite of its flaws, this is a fine presentation of the life of one of the most interesting men of our past century.

Malcolm X is one of the most influential, positive, and empowering movies I've ever watched. I knew little of Malcolm X before watching this film. Now, I've seen it a total of 10 times. I've also downloaded and read many of Malcolm's greatest speeches, " Ballot or the Bullet" is an example of one. As is visible, this movie has touched me in many ways. Denzel Washington's performance of the ex-Muslim leader is amazing. The only thing more amazing is the fact that he lost out in the Oscar race to Pacino, who portrayed a less important figure, by far. Angela Bassett, a beautiful black actress, plays his wife, Betty Shabazz, in a magnificent role. Delroy Lindo, Albert Hall, Al Freeman Jr., Theresa Randle, and Spike Lee himself all play great roles in the movie. Spike Lee was right. I found this movie to be more informative than two six hour days of any school, grade school, middle school, high school, and/or above.

Denzel has had many outstanding perfromances, but this may be the best of them all. While most of the other cast members do a good job, Denzel outshines them all. This is also an accurate depiction of the historical figure. It captured who Malcolm was in a nutshell. This movie is defentiely good, but is worth seeing for Washington's profound acting alone.

This is the best movie I've ever watched in my life. I watched all Denzel Washington's movies. In this movie, they beautifully describe Malcom X's life and all the mistakes he made until he found the truth.

Especially Malcolm X's speeches were inspiring and impressed me a lot. Denzel Washington's acting is also amazing. He definitely deserved an Oscar.

The fact that the movie is too long may cause some viewers to get bored, but it is a great movie for true movie gourmets. It's a movie that should be in the IMDB top 10.

With this movie, Malcolm X and Denzel Washington became the people I was inspired by in my life. Thanks to this movie, I became a real Denzel fan.

No disrespect to Malcolm X, I admire him so I watched this movie and I didn't like it. After watching this I decided that I don't like Spike Lee's movies, he's a bad director. I haven't liked one of his movies yet.

What's with the long dancing scenes at the beginning of the movie? The end is so melodramatic, I'm pretty sure it's Spike Lee's voice saying why you should respect Malcolm X... nobody cares what your vision of life is, rather tell me a story and then you can catch my attention , but the voice over spoils it. It's also ridiculously long and it's unnecessary.

Sorry Spike, you had to stay more centered to tell a good story, you couldn't shape your admiration for this man into a fine movie.

I have been working on a book for some time now titled "The Deification of the American Niggah: Whole Lotta Lies Don' Make No Truth". The thesis is of the book is that the severe bigotry and injustice experienced by Negroes in America has been replaced by an equally inaccurate and unjust expectation of perfection. There is an attempt to correct the errors of slavery, prejudice and brutal discrimination by recreating reality in an equally tragically inaccurate set of expectations. Blacks have been miraculously transformed from ignorant, vile, sub-humans to noble, perfect, superior beings that have been unjustly suppressed for reasons of racist ambitions, greed, envy, etc. Neither of these depictions is accurate and both misconceptions degrade the social and economic ascendance that is the answer to the issues of black society.

This film and its writers, producers, directors, critics, etc. are an example of the extremes to which myth has attempted to transplant error. The protagonist is depicted as a humble, gifted, noble and superior hero who conquered white oppression through "self-enlightenment". In reality, Malcolm Little was a felon, a convict and a miscreant who sought advancement through narcotics, prostitution and illegal gambling. His "enlightenment" through the spiritual experience of the Nation of Islam (Black Muslims) was depicted in his statement about President Kennedy's assassination "…the chickens would come home to roost…." Malcolm's association with the Black Muslims ended in his own brutal assassination by other peaceful, enlightened members of the Nation of Islam.

But Spike Lee directed this movie as a tribute to a hero who transcended racism though enlightenment and moral superiority. This is a terrible film not only because of its betrayal of reality but because it perpetuates the myths that are as evil as the bigotry and persecution that it assaults. There are no mythical heroes just as there are no sub-humans among the black races. Miraculous transformation of history does no more to elevate society than prejudice does. Greater lies cannot correct other lies.

Richard Pryor made the best statement on reality I have ever heard. Its majesty lies in its simplicity and accuracy. On a trip to Africa he attended a large community celebration of ethnic music, dancing, revelry, etc. As he sat among the hundreds of revelers he thought to himself, "Now look around you. Do you see any Niggahs here?" He answered to himself, "No, there aren't any. There never were any. Just people. That's all there ever were." In the same way, if the filmmakers as well as the multitudes of activists who advocate societal betterment would just see that all they have to deal with are people, the issues could begin to be resolved. Fantasies like this movie only prolong the hatred and incomprehension.