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Canadian Shopping Online: Chapters Canada and Amazon Canada for Books, Music, DVD and More Malcolm X Usually ships in 24 hours Delivery is subject to warehouse availability. Shipping delays may occur if we receive more orders than stock. Our Price: $24.98 Our Sale Price: $22.48 Savings: $2.50 (10%) Ordering is 100% secure . Spend $39 or more at chapters.indigo.ca and your order ships free!. ( Details ) Starring: Denzel Washington Director: Spike Lee Video Release: January 2000 | Theatrical Release: 1992 Runtime: 201 Rating: R (MPAA) Released by Warner Home Video | UPC: 085391259626 chapters.indigo Review Taking a passionate look at one of the most substantial figures in African-American history, Spike Lee`s Malcolm X is an epic that shows how the son of a Nebraska preacher grew up to be the influential leader of the black liberation movement. Starting off with his roots as a crook, it shows how his conversion to Islam, while in jail, forever changed his perspective. Panoramic in scope, this piece of history is no doubt controversial, half due to its subject and half due to Lee, whose confident directing makes a bold statement. Denzel Washington`s portrayal of Malcolm X earned him an Oscar. Notes Estimated budget $34 million. Budget battles plagued production from the beginning. Initially, director Spike Lee had requested $33 million for the film, a reasonable sum considering the size and scope of the project but far greater than his previous budgets, highest being $14 million for "Jungle Fever". Additionally, his five previous films combined grossed less than $100 million domestically. As a result of this (and the studio's reluctance to fund black-themed material), Warner Bros. only offered $20 million for a two-hour and 15-minute film, plus an additional $8 million from Largo Entertainment for the foreign rights. When the film went $5 million over budget, Lee kicked in most of his salary, but failed to keep the financiers from shutting down post-production. Lee went public with his battles and raised funds from celebrity friends, such as Oprah Winfrey, Michael Jordan, and Bill Cosby to regain control of his embattled project. Warner's eventually kicked in more funds after a positive screening of a rough cut. David Golia was the Director of Photography in Mecca. Frank Manning served as dance consultant. The screenplay was begun by Arnold Perl, who died in 1971, more than 20 years before Spike Lee filmed it. Many others worked on the screenplay over the years, including James Baldwin, Calder Willingham, David Mamet, David Bradley, and Charles Fuller. Norman Jewison was originally intended to direct. Lee created an uproar by insisting that only an African-American director could handle this material (especially given the dearth of films devoted to black culture), and eventually Jewison dropped the project. Lee later explained, "White Americans will never know what it feels like to be an African-American in this country. This is a story of Malcolm X whose life you might say is very symbolic of the whole African-American experience in this country. I've said this again and again, that Francis Ford Coppola being Italian definitely enhanced the 'Godfather' films. Same thing with Martin Scorsese with 'Mean Streets,' 'Raging Bull.' "So why should these same things not enhance African-Americans doing films about the African-American struggle? At the same time, that's not saying that only white people can direct white films or black people can direct black films, but there are specific cases where you are from, your environment, will help." Another controversy around "Malcolm X" erupted when Lee reportedly stated that he only wanted black journalists to interview him. Lee pointed out that other Hollywood personalities routinely dictate their interviewers without any questions asked. An interview with "Esquire," featured on the cover with the quote "Spike Lee Hates Your Cracker Ass," apparently lead to this request. Lee was angered because the cover quote was fabricated by the magazine, the white writer asked him about what he felt were irrelevant issues, and spent a good deal of time discussing her own experiences with blacks. The Los Angeles Times, Vogue, Interview, and Premiere agreed to provide black journalists for the interviews; Premiere went so far as to reevaluate its editorial staff and hire a black writer and a black editor on a permanent basis. Lee clarified his position by saying that, if possible, he simply preferred black journalists, but would continue to grant interviews to non-blacks. Lee said, "It is my belief that, because Malcolm X is such a part of the African-American psyche and experience, African-American journalists will be that much more sensitive to the subject matter... But my asking for African-American journalists points out a much greater problem: the embarrassing lack of black writers at these various media institutions... My efforts to control the representation of my art and image is nothing extraordinary, but rather commonplace and traditional in respect to Hollywood's standards... Instead of questioning me, the white media should take a look at its own hiring practices and ask, 'Where are the African-Americans, the women, and the other minorities." Interestingly, the only major black journalist and full-time film critic working for a national publication was denied an interview by Lee's camp after repeated requests. The critic, David Ehrenstein, works for the gay and lesbian magazine "The Advocate." Still yet another controversy erupted over Lee's unauthorized use of amateur cameraman George Holliday's video of the Rodney King beating. Holliday charged Lee with copyright infringement for incorporating the footage into the film's opening sequence without permission. And finally, exhibitors were concerned over the film's three-hour-plus length, which meant that only one showing a night could be scheduled, instead of the usual two; over the lack of screenings and market research; and over the possibility that extra security might be necessary. After a screening for exhibitors, responses ranged from "I'm worried about the box office. I don't think there is enough controversy" to "It's a well-made movie, Denzel Washington is absolutely convincing as Malcolm X, and it's too damn long. It's longer than 'JFK' and I don't think it's got a chance to do the same kind of business." Following his difficulties with Warner Bros. on "Malcolm X," Lee returned to his old studio Universal Pictures for a multi-picture deal. One studio executive at Warners' characterized the company's feeling towards Lee as "Don't slam the door on your way out." Cameos include John Sayles, Matt Dillon, Bobby Seale, Al Sharpton, William Kuntsler, Nelson Mandela, and Ossie Davis. Film opens with footage of the Rodney King beating. Filmed in New York City and Fishkill, New York; New Jersey; Boston, Massachusetts; Mecca, Saudi Arabia; Soweto, South Africa; and Egypt. Began shooting September 16, 1991; completed January 26, 1992. Estimated budget $40 million. Released in USA November 18, 1992. Released on video July 21, 1993. Lee published a book with Ralph Wiley for Hyperion about the making of the film, entitled "By Any Means Necessary: The Trials and Tribulations of the Making of Malcolm X." Description The controversial chronicle of the life of spiritual and political leader, Malcolm X, assassinated at age 39 by black extremists. Academy Award Nominations: 2, including Best Actor--Denzel Washington. Synopsis The highlights of Malcolm X's life are played out in epic proportions. Born Malcolm Little, son of a Nebraska preacher on May 19, 1925, Malcolm became one of the most militant leaders and most charismatic spokesmen of the black liberation movement, before his assassination at the Audubon Ballroom in New York on February 21, 1965. The film moves through his early life as a small-time hustler and thief, his conversion to Islam in jail, and his subsequent life as a spiritual leader. Malcolm's assassination is presented as a conspiracy of Nation of Islam leaders and the film shows how his philosophy has been realized in the lives of others who have been moved by his words. 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