University of Southern California Perhaps this is asking too much from a Black story, but it’s Lee himself who sets the high bar. So, when Spike Lee’s new movie “Da 5 Bloods” was announced, my feelings were mixed. In this context, 窶廛a 5 Bloods窶� rightfully deserves its moment as it recounts, in unique Spike Lee fashion, the experiences of some of the Black soldiers who fought in disproportionate numbers during a war whose racism cut both ways, against Black (and Brown and Indigenous) American soldiers and also against the Vietnamese (and Cambodians, Laotians and Hmong). Notify me via e-mail if anyone answers my comment. Da 5 Bloods ch蘯ッc ch蘯ッn s蘯ス khi蘯ソn khán gi蘯」 Vi盻�t Nam chú ý nh盻� nh盻ッng hình 蘯」nh quen thu盻冂. Don't believe me, read Here we go with my live tweeting of Spike Lee's #Da5Bloods. Currently you have JavaScript disabled. While this might have happened, it’s extremely rare. … I know it works with certain kind of conventions and protocols. This complex subjectivity is what white Hollywood has mostly denied Black people, and it is what they deserve. While acknowledging the massacre of 500 Vietnamese civilians is important, it is also a clumsy exercise in American guilt that relegates the Vietnamese to victimhood, which is how Americans prefer to remember them, except when they remember them as Viet Cong. In June, film director Spike Lee released his latest project, “Da 5 Bloods.” The film tells a story about Black American soldiers fighting in the Vietnam War, and has drawn a fair amount of critical praise for shifting focus away from white soldiers, who’ve typically inhabited central roles in movies about the war. Aidan Connelly is a production assistant on Boston Public Radio. "I think there’s a stereotype that Hollywood is a liberal enclave, which might be true in terms of people’s personal politics, but I don’t think it’s true in terms of what Hollywood puts on the screen,” he said. 窶�Da 5 Bloods窶� co thê la mô t thニー nghiê m tha nh công cu a Spike Lee vニ。 i do ng phim chiê n tranh lâ y trung tâm la ngニーニ。 i li nh da ma u, nhニーng vニ。 i kha n gia Viê t Nam, phim ト�ê la i nhニー ng ha t sa n kho ト柁。 . I wrote about this in my 2015 novel, “The Sympathizer,” which includes a depiction of a Hollywood “Vietnam War” spectacle that looks suspiciously like “Apocalypse Now,” but with a little tweaking — change the white guys to Black guys — could be “Da 5 Bloods.” I created a narrator who was as complex as Delroy Lindo’s Paul, who spoke back in tragedy and anguish to American racism and imperialism. In its own typically solipsistic, American-centered, whitewashed fashion, Hollywood has been waging this war on celluloid ever since John Wayne’s atrocious “Green Berets” in 1968, a film so nakedly propagandistic it could have been made by the Third Reich. Hence the marginalized Vietnamese continuing to serve their role as excuses for a Black drama staged against America’s Black-white divide. “Here is the true meaning and value of compassion and nonviolence,” King said, “when it helps us to see the enemy’s point of view, to hear his questions, to know his assessment of ourselves.”. On the other hand, I feared that Lee, despite being a Black American with a powerful, necessary voice, would, in the end, be an American. For Vietnamese people, as well as Laotians, Cambodians and Hmong, their role is almost always that of the extra, their function: to be helpful, rescued, blamed, analyzed, mocked, abused, raped, killed, spoken for, spoken over, misunderstood or all of the above. 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