Top critical review
3.0 out of 5 starsA reductive representation of someone's imagination of the "Black Muslim Fantasy"
Reviewed in the United States on January 16, 2021
Malcolm X was not weak, nor did he stuttering, or wonder when he made a point of argument, not with anybody let alone, three entertainers. Malcolm X was bigger than all three of these men at the time. And brother Samuel Clyde Rahman was the brother who brought Ali into Islam. There is no possible way on earth Muhammad Ali would have been unaccompanied by Rahman because the Italians had openly threatened Ali. The Muslims were greatly more respected a great deal more than what's characterized in this portrayal. When the Italian Mob had serious death threats directed at Ali, Malcolm X was receiving death threats from the FBI made to look like they were coming for the Nation of Islam.
So, even the fantasy imaginary dramatic depiction of iconic figures should hover more closely to their character's truth, and this misses the mark. And, besides, I knew Charles 37X, Herbert Muhammad, Jim Brown, Bahr Muhammad, and Murad Muhammad, and Lana Shabazz not one of them ever told me any stories, not one that included one of these brothers Jim Brown or Sam Cooke speaking to Malcolm X in the manner portrayed. I knew Jim Brown personally and was close to Kenyatta and Herbert. While Malcolm spent the last half of 1964 touring Africa and the Middle East, Betty and her daughters were left in the care of Charles 37X Kenyatta, Charles Kenyatta – activist, pastor, bodyguard, and confidant of Malcolm X.
The media perpetuates the “Black Muslim Fantasy” so often to define the African American Muslim. It always seems as though the Hollywood Movie industry entertainment context so often reproduces the imagery that the recycles backward and forward between the news media and the entertainment media.
The modern American version of recognition cliché quickly turns toward progressively worse effect because the cliché fails in language to express the complete thought, and distract the mind toward the sensational Malcolm X portrayed by attitude and wrapped it up in the Black Muslim Fantasy” character we observe in movies. The African American Muslim views the antitheses toward Malcolm X as Muslim El-Hajj Malik Shabazz. The media ignore El-Hajj Malik Shabazz's contributions as a Muslim but sanitize his views into purely political.
We often see the “Black Muslim fantasy” depicted in the film as adaptations of the angry black man' stereotype. The angry black man's stereotype is informally acknowledged in American as the righteous rugged individual who disavows familiarity with legitimizing Islamic principles. He or she does not worship “Allah” but has given into black rage. The angry Black man stereotype has become the most understated socially accepted nuance attributed to the African American Muslims. The image sustains all of the unfortunate socially endorsed biases directed toward Muslims associated with the Nation of Islam in that period. Although the original Nation of Islam had played the most critical and significant role in spreading Iand raising the level of esteem, dignity, honor, and integrity of black men in America, somehow, whenever Muslims are portrayed in the film, there seems to be some need to denigrate them with speech and context that would never have happened in real life. The Nation of Islam idealistically contributes to the main source of information strength and attitude worthy of respect in black men of that period. Malcolm X was chiefly followed by Kwame Ture (Stokely Carmichael'), Jamil Abdullah Al-Amin, formerly known as H. Rap Brown, Huey P Newton, and Bobby Seale, co-founders of the Black Panther Party. Ahmad Muhammad (Max Stanford ), the founder of the Revolutionary Action Movement (RAM), was a US-based revolutionary black nationalist group, Sonny" Carson (also known as Mwlina Imiri Abubadika Imamu Baraka, Maulana Karenga, Balozy Zayd Muhammad founder of the BCD, and a long list of brothers committed to the black power movement...
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