Blackkklansman’s bleak conclusion offers a glimmer of hope in dark times

Can compromised organisations be turned into a force for good in society, and can individuals exert positive impacts in organisations whose dark side overshadows their light? These questions are put by Spike Lee’s compelling film Blackkklansman.

A dramatisation of the story of Ron Stallworth, a black Colorado police officer who infiltrated the Ku Klux Klan, the film zeros in on the intersection between the two organisations, the Colorado Police Department and the Klan, in the late 1970s

Both are responding in their way to the liberalising forces that have swept through America in the preceding years. The police are encouraging the recruitment of ethic minorities. The Klan are donning suits and attempting to sanitise their rhetoric, in order to take their hateful message mainstream. There are elements within both organisations which resent the liberal turn. Beyond the police, a third organisational player, the network of black power activists, poses awkward questions about the rationale for liberalising. Stallworth strikes up a relationship with the leader of the local activists. She categorically dismisses the idea that a racist police force can be reformed from within.

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I, Tonya shows the role of power in achievements

triple axel

Before Christmas, I wrote a blog post with the title Effort more than talent is the key to achievement. True enough. But how could I have forgotten to mention another critical determinant: power?

Craig Gillespie’s film I, Tonya – starring Margot Robbie as the American figure skater, Tonya Harding – shows us how power, or the lack of it, can frustrate even the most promising blend of effort and talent.

Tonya Harding had both in spades. She was famously the first American woman to achieve the phenomenally difficult triple axel jump in competition (and only the second in the world). Her skating career came to an end after she was implicated in an attack on her fellow competitor Nancy Kerrigan. But, as portrayed in the film, this incident arose out of a wider nexus of class and gender relations that had held her back from the outset.

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Spielberg’s The Post offers a masterclass in public leadership

Katharine Graham and Ben Bradlee celebrate the court’s decision in 1971 to allow publication of the Pentagon Papers.

Steven Spielberg’s film The Post combines three themes close to my heart: leadership, journalism and power – with an interesting gender dimension overlaying all three.

The film portrays the days in 1971 when the Washington Post faced a dilemma whether to publish leaked material, the Pentagon Papers, showing how successive American presidents had deceived the public about the country’s purpose and prospects in Vietnam. The scoop already belonged to the New York Times. But an opportunity to catch up arose for the Post when Nixon’s government obtained an injunction against the Times, and the Post obtained the material independently.

There have been criticisms that it is perverse of the film-makers to focus on the role of the Post in the the Pentagon Papers affair, when the Times was the bigger player and took the earlier risk. However, that is to misconstrue the drama in which the Pentagon Papers affair is merely the MacGuffin on which hangs a tale of press freedom and gender politics. It is precisely because the Post was the lesser player that it merits attention. It’s the story of how a faltering business, guided by a woman in a male-dominated world, steps into the big league and transforms itself into a pillar of democracy. The whole episode serves as a dress rehearsal for Watergate, when the Post made the running in holding Nixon to account and ultimately brought down his presidency.

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