Highest 2 Lowest
In “Highest 2 Lowest,” Spike Lee’s latest joint (Yes, he’s still using that somewhat unprofessional terminology), Denzel Washington plays David King, a king maker if there ever was one. King is founder of Stackin’ Hits records – sort of a Quincy Jones type mogul, who’s responsible for the careers of many black recording artists. Although his heyday was back in the early 2000s, King is still a respected figure among the music community. Young singers stop him in the lobby of his high-rise office complex, begging him to listen to a snippet of their work.
By all accounts, King and his beautiful, elegant wife Pam (Ilfenesh Hadera) are pillars in the black community, having donated millions to charitable causes. King’s chauffeur and right-hand man is an ex-convict named Paul. He’s played by Jeffrey Wright, so great two years ago as a writer and professor in “American Fiction.” Here he plays a completely different character – a man who, unlike King, came from the streets, served time, and was “rescued” by King because, well that’s the kind of thing King does.
Kurasawa connection
Until it isn’t. Based on Akira Kurosawa’s 1963 crime caper “High and Low” (which was itself adapted from Evan Hunter’s novel “King’s Ransom”), “Highest 2 Lowest” spends ample time establishing its characters. King’s personal dilemma is the pending sale of Stackin’ Hits Records to a large conglomerate whose leaders, King surmises, won’t have the same passion for discovering young black talent.
But then tragedy strikes when King’s son Trey (Aubrey Joseph) is kidnapped following a summer camp basketball practice, along with his best friend Kyle (Elijah Wright) who happens to be Paul’s son. As is common in high-profile kidnapping cases, the police set up shop in the King’s penthouse condo in Manhattan. Naturally, they presume Paul must have something to do with the crime (or at least know some low-lifes capabale of pulling it off), given his checkered past. In an odd twist of events, the kidnappers turn out to have taken the wrong boy. Trey is reunited with his parents, while Kyle remains missing.
The plot thickens
While the police continue to work the case, their interest level seems to drop off once King’s son is returned and the media blitz dies down. And now King is faced with the obvious dilemma: Does he still pay the ransom for the return of Paul’s son, just as he was unquestionably prepared to do for his own? And keep in mind, this ransom is so large that if the cops are unsuccessful retrieving it, Stackin’ Hits could be ruined, along with the King’s retirement plans.
Suffice to say, even though King is played by Denzel Washington, and his characters are typically fine and upstanding men, his predicament doesn’t necessarily bring out the best in the character. Son Trey points out that King’s social media standing is in the toilet because he’s taking so long to make the righteous decision and help his fellow man even at the expense of his media empire.
Film’s best sequence
When the inevitable hand-off of money for Kyle is made – in the very public setting of a Yankees game, no less – Lee’s talent as a filmmaker shines through. Knowing the police have likely planted a tracing device in the ransom bag, the kidnappers perform pre-planned hand-offs amongst them. And we know there are at least two involved, maybe more. They all wear black, and drive mopeds through the crowded city streets and sidewalks. And not only is a crowd entering Yankee Stadium but there is also a street festival celebrating Puerto Rican heritage.
Lee overlaps the high-pressure police chase with the screaming ballgame crowd and the energetic music of the Puerto Rican band in a riveting sequence that rivals the best work of his career. The chase scene (complete with New York’s elevated train) is reminiscent of “The French Connection,” only with Spanish dance music. With “BlackKklansman” and now “Highest 2 Lowest,” Lee is turning out some of the best work of his career.
Final act
In the film’s mildly unbelievable final act, King confronts the kidnapper, an aspiring rapper in search of his first big recording contract. He’s played by actual rapper A$AP Rocky. But King doesn’t approach their one-on-one meeting (no police here) with the anger we might expect, but rather, with empathy. And even with some helpful hints regarding his own rapping. King may be past his prime, but he’s not so out of touch he can’t provide a little guidance. In this scene, Washington proves why he is regarded as one of our greatest actors. This is some of the finest acting of his long, storied career.
City of New York
I also like the way Lee presents the city of New York. During the early establishing scenes, we experience the perpetually sunny city from far above street level – looking down on the Brooklyn Bridge and the other smaller buildings. But the foray into the world of the kidnappers takes us down to the gritty, street-level New York. It’s not nearly as pretty, but it has an energy sorely lacking in the King’s condo. This disparity between the haves and the have-nots is the core of “Highest 2 Lowest.” And the distance between these two worlds is presented as a very thin line.
Return to prominence
I rank this one as Lee’s best film since 2002’s “25th Hour,” and possibly even since 1992’s “Malcolm X.” It’s great to see perhaps our greatest black filmmaker return to prominence. It’s a shame “Highest 2 Lowest” hasn’t enjoyed a wider distribution. You’ll have to search to find this one in the local theatre. But it should be seen on the big screen. It’s worth it.
Andy Ray‘s reviews also appear on https://townepost.com/