FORWARD MOTION

To answer Todd Boyd’s question and article “Is Spike Lee Stuck in Reverse?” (Oct. 20), I’d like to offer a profound and hearty “no.”

“Get on the Bus” happens to be a small yet critical departure on Lee’s trek to the next level. The film is about exposure, enlightenment and history. It gave us personal stories, insights and understanding of a world where only black men live.

I cried practically all the way through. You see, my older brother was on that bus; my father and stepfather were on that bus; my nephew was on that bus, as were my friends, co-workers and acquaintances. Their stories were there, their pain was there and their spirit was there.

Lee is a groundbreaker, and he’s not afraid to take chances. He expresses his vision whether we see it his way or not, and he is taking responsibility as a filmmaker to give us a glimpse of life many of us are not privy to.

GAIL CHOICE

Playa del Rey

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“Get on the Bus” should not be considered a “comeback film.” Sure, Spike Lee’s last three films did not particularly hit it big with audiences or critics, but if you enjoyed them or not was a matter of taste. (No one made a big deal about Steven Spielberg’s blockbuster hiatus in the ‘80s, now did they?)

The non-costly budget that financed the film should be commended, given Hollywood’s crazed notion that hundreds of dollars thrown away will make a good film.

Lee will continue to make compelling films, tearing down hurtful stereotypes that America paints of African Americans, and will continue to inspire filmmakers and people of all backgrounds in the years to come.

Also, it may come the day when he is finally rewarded with his long-overdue Oscar.

JOEL LINDLEY

Long Beach

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While most of Todd Boyd’s observations about Spike Lee’s cinematic development appear to be right on the money, his extemporaneous remarks about Michael Jackson being “ambivalent, even resentful, about his race” is dangerously irresponsible and borders on racism.

Jackson has surrounded himself with the individuals best capable of helping him realize his vision, commercially and artistically, be they of African descent or not. This is his right and privilege.

And Jackson’s personal life is, or should be, just that: his. He is not obligated to play out the detrimentally erroneous role that Boyd and most in our society (blacks and whites alike) seem to suggest that African Americans should play.

RODNEY MICHAEL MARLIN

Los Angeles