text:
Oyer and terminer
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"Oyer" redirects here. For the community in the United States, see Oyer, Missouri. For the interjection used to call a courtroom to order, see Oyez. For the municipality in Norway, see Øyer.
This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (August 2010) (Learn how and when to remove this template message)
In English law, Oyer and terminer (/ˈɔɪ.ər ... ˈtɜːrmɪnər/; a partial translation of the Anglo-French oyer et terminer which literally means "to hear and to determine"[1]) was the Law French name for one of the commissions by which a judge of assize sat. The commission was also known by the Law Latin name audiendo et terminando, and the Old English-derived term soc and sac.
By the commission of oyer and terminer the commissioners (in practice the judges of assize, though other persons were named with them in the commission) were commanded to make diligent inquiry into all treasons, felonies and misdemeanours whatever committed in the counties specified in the commission, and to hear and determine the same according to law. The inquiry was by means of the grand jury; after the grand jury had found the bills of indictment submitted to it, the commissioners proceeded to hear and determine by means of the petit jury. The words oyer and terminer were also used to denote the court which had jurisdiction to try offences within the limits to which the commission of oyer and terminer extended.
Contents
1 Use in Scotland
2 Use in the United States
3 Construction of the fixed expressions
4 References
5 External links
Use in Scotland[edit]
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By the Treason Act 1708, the Crown had power to issue commissions of oyer and terminer in Scotland for the trial of treason and misprision of treason. Three Lords of Justiciary had to be in any such commission. An indictment for either of the offences mentioned could be removed by certiorari from the court of oyer and terminer into the High Court of Justiciary.
Commissions of oyer and terminer in Scotland have been exercised at various points in history, for example the trial of Radicals during the "Radical War" of 1820.
Use in the United States[edit]
In the United States oyer and terminer was the name once given to courts of criminal jurisdiction in some states, including Georgia, New Jersey and Pennsylvania. New York had courts of Oyer and Terminer for much of the 19th Century, but these courts were abolished by a change in the state constitution, effective in 1896. The New York court's jurisdiction was the same as that of the Court of General Sessions or County Court, except that Oyer and Terminer had jurisdiction over crimes punishable by life imprisonment or death.[2] In the antebellum period, oyer and terminer courts heard criminal cases against slaves, Native Americans and other disenfranchised defendants.
Massachusetts Governor William Phips created a court of Oyer and Terminer for the Salem witch trials on May 27, 1692, consisting of Mr. Stoughton, Maj. Richards, Maj. Gidny, Mr. Wait Winthrop, Capt. Sam Sewall, Mr. Sargeant, as well as Maj. Nathaniel Saltonstall, who soon withdrew in dissatisfaction and was replaced by Jona. Corwin. (Corwin had been one of the two main judges of the early proceedings in Salem, often signing his name under John Hathorne.) [3] The quorum was five of these seven.[4] It was dissolved October 29, 1692 when the trials were reflected upon and disapproved of.
Construction of the fixed expressions[edit]
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Oyer and terminer: (audiendo et terminando)
Oyer is the Law French for a hearing or an inspection, as of a deed, bond, etc., as when a defendant in court prays oyer of a writing. From the Latin "audire."
Terminer is the Law French for determining (decide, settle). From the Latin "terminare."
References[edit]
Jump up ^ Oyer and terminer, Merriam-Webster.com. Retrieved February 7, 2011.
Jump up ^ "New York Criminal Courts" (PDF). New York State Archives. Retrieved 2013-06-27.
Jump up ^ Salem Records
Jump up ^ Burr, Witchcraft Cases, 1914
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Oyer and Terminer". Encyclopædia Britannica (11th ed.). Cambridge University Press.
External links[edit]
thefreedictionary.com
"Oyer and Terminer". New International Encyclopedia. 1905.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Oyer_and_terminer&oldid=848351298"
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Malcolm X (1992 film)
From Wikipedia, the free encyclopedia
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Malcolm X
International release poster featuring Denzel Washington as Malcolm X in an iconic pose
Directed by
Spike Lee
Produced by
Spike Lee
Marvin Worth
Screenplay by
Spike Lee
Arnold Perl
Based on
The Autobiography of Malcolm X by
Malcolm X
Alex Haley
Starring
Denzel Washington
Angela Bassett
Albert Hall
Al Freeman, Jr.
Delroy Lindo
Spike Lee
Music by
Terence Blanchard
Cinematography
Ernest Dickerson
Edited by
Barry Alexander Brown
Production
company
40 Acres and a Mule Filmworks
Distributed by
Warner Bros.
(U.S.)
Largo International
(international)
Release date
November 18, 1992 (1992-11-18)
Running time
202 minutes
Country
United States
Language
English
Budget
$33 million
Box office
$48.2 million[1]
Malcolm X, sometimes stylized as X, is a 1992 American epic biographical drama film about the Afro-American activist Malcolm X. Directed and co-written by Spike Lee, the film stars Denzel Washington in the title role, as well as Angela Bassett, Albert Hall, Al Freeman, Jr., and Delroy Lindo. Lee has a supporting role as Shorty, a character based partially on real-life acquaintance Malcolm "Shorty" Jarvis, a fellow criminal and jazz saxophonist. Black Panther Party co-founder Bobby Seale, the Rev. Al Sharpton, and future South Africa president Nelson Mandela have cameo appearances. This is the second of four film collaborations between Washington and Lee.
The film dramatizes key events in Malcolm X's life: his criminal career, his incarceration, his conversion to Islam, his ministry as a member of the Nation of Islam and his later falling out with the organization, his marriage to Betty X, his pilgrimage to Mecca and reevaluation of his views concerning whites, and his assassination on February 21, 1965. Defining childhood incidents, including his father's death, his mother's mental illness, and his experiences with racism are dramatized in flashbacks.
Malcolm X's screenplay, co-credited to Lee and Arnold Perl, is based largely on Alex Haley's 1965 book, The Autobiography of Malcolm X. Haley collaborated with Malcolm X on the book beginning in 1963 and completed it after Malcolm X's death.
Malcolm X was distributed by Warner Bros. and released on November 18, 1992. Denzel Washington won the New York Film Critics Circle Award for Best Actor and was nominated for an Academy Award for Best Actor. In 2010, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Screenplay
3.2 Production difficulties
3.3 Concerns over Lee's portrayal of Malcolm X
3.4 Concerns over Washington's portrayal of Malcolm X
3.5 Budget issues
3.6 Request for black interviewers
3.7 Filming
3.8 Music
4 Reception
5 See also
6 References
7 External links
Plot[edit]
This article needs an improved plot summary. (October 2015)
Malcolm X follows the life of African-American activist Malcolm X. Rising from a troubled childhood, in which his father, a preacher, is murdered by the Black Legion and his mother is institutionalized for insanity, Malcolm gets a job as a Pullman porter, calling himself Detroit Red. After getting involved with a Harlem gangster named West Indian Archie with whom he has a falling out, Malcolm flees to Boston and decides to become a burglar. He and his best friend, Shorty (played by Spike Lee) are arrested by the police and Malcolm is sentenced to a ten-year prison term. In prison, a fellow inmate, Baines, introduces him to the teachings of the Nation of Islam.
Malcolm begins religious conversion as a disciple of Elijah Muhammad. During this fervent immersion into the Nation of Islam, he becomes an incendiary speaker for the movement changing his name to Malcolm X and marries Betty Shabazz. Malcolm X preaches a doctrine of separation from white society. However, a pilgrimage to Mecca softens his beliefs, teaching him that Muslims come from all races, even whites, and he endeavors to break free of the strict dogma of the Nation of Islam, with tragic results. He is assassinated on February 21, 1965, in New York City.
In the present day, numerous children of African descent, both in the United States and Africa, declare "I am Malcolm X." Among them, is anti-apartheid activist and future South African President Nelson Mandela who begins quoting one of Malcolm X's speeches. The final scene depicts Mandela's 1990 release from prison and during the negotiations to end apartheid in South Africa.[2]
Cast[edit]
Denzel Washington as Malcolm X
Angela Bassett as Betty Shabazz
Albert Hall as Baines
Al Freeman, Jr. as Elijah Muhammad
Delroy Lindo as West Indian Archie
Spike Lee as Shorty
Roger Guenveur Smith as Rudy
Theresa Randle as Laura
Kate Vernon as Sophia
Lonette McKee as Louise Little
Tommy Hollis as Earl Little
James McDaniel as Brother Earl
Steve White as Brother Johnson
Ernest Lee Thomas as Sidney
Jean-Claude La Marre as Benjamin 2X
Wendell Pierce as Ben Thomas
Giancarlo Esposito as Thomas Hagan
Leonard L. Thomas as Leon Davis
Michael Imperioli as Reporter at Fire Bombing
Nicholas Turturro as Boston Cop
David Patrick Kelly as Mr. Ostrowski
Beatrice Winde as Elderly Woman
Special Guest Appearances
Bobby Seale as Street Preacher
Al Sharpton as Street Preacher
Christopher Plummer as Chaplain Gill
Karen Allen as Miss Dunne
Peter Boyle as Captain Green
William Kunstler as The Judge (Boston)
Nelson Mandela as Soweto Teacher
Craig Wasson as TV Host
Ossie Davis as Eulogy Performer
Production[edit]
"It's such a great story, a great American story, and it reflects our society in so many ways. Here's a guy who essentially led so many lives. He pulled himself out of the gutter. He went from country boy to hipster and semi-hoodlum. From there he went to prison, where he became a Muslim. Then he was a spiritual leader who evolved into a humanitarian."
— Producer Marvin Worth on his 25-year effort to make a film about the life of Malcolm X[3]
Producer Marvin Worth acquired the rights to The Autobiography of Malcolm X in 1967. Worth had met Malcolm X, then called "Detroit Red", as a teenager selling drugs in New York. Worth was fifteen at the time, and spending time around jazz clubs in the area. As Worth remembers: "He was selling grass. He was sixteen or seventeen but looked older. He was very witty, a funny guy, and he had this extraordinary charisma. A great dancer and a great dresser. He was very good-looking, very, very tall. Girls always noticed him. He was quite a special guy."[4]
Early on, the production had difficulties telling the entire story, in part due to unresolved questions surrounding Malcolm X's assassination. In 1971, Worth made a well-received documentary, Malcolm X, which received an Academy Award nomination in that category. The project remained unrealized. However, several major entertainers were attached to it at various times, including Richard Pryor, Eddie Murphy, and director Sidney Lumet.[4]
Screenplay[edit]
In 1968, Worth commissioned a screenplay from novelist James Baldwin, who was later joined by Arnold Perl, a screenwriter who had been a victim of McCarthy-era blacklisting.[2] However, the screenplay took longer to develop than anticipated. Perl died in 1971.[4]
Baldwin developed his work on the screenplay into the 1972 book One Day, When I Was Lost: A Scenario Based on Alex Haley's The Autobiography of Malcolm X. In 1976, Baldwin wrote of his experience, "I think that I would rather be horsewhipped, or incarcerated in the forthright bedlam of Bellevue, than repeat the adventure".[5] Baldwin died in 1987. Several authors attempted drafts, including David Mamet, David Bradley, Charles Fuller and Calder Willingham.[4][6] Once Spike Lee took over as director, he rewrote the Baldwin-Perl script. Due to the revisions, the Baldwin family asked the producer to take his name off the credits. Thus Malcolm X only credits Perl and Lee as the writers and Malcolm X and Alex Haley as the authors of The Autobiography of Malcolm X.[4]
Production difficulties[edit]
The production was considered controversial long before filming began. The crux of the controversy was Malcolm X's inflammatory and often angry denunciation of whites before he undertook his hajj. He was, arguably, not well regarded among white citizens by and large; however, he had risen to become a hero in the black community and a symbol of blacks' struggles, particularly during the presidencies of Ronald Reagan and George H. W. Bush. In the three years before the movie's release, sales of The Autobiography of Malcolm X had increased 300 percent, and four of his books saw a ninefold increase in sales between 1986 and 1991.[6]
Once Warner Bros. agreed to the project, they initially wanted Academy Award-nominated Canadian film director Norman Jewison to direct the film. Jewison, director of the seminal civil rights film In the Heat of the Night, was able to bring Denzel Washington into the project to play Malcolm X. Jewison and Washington previously worked together in the 1984 film A Soldier's Story. A protest erupted over the fact that a white director was slated to make the film.[6] Spike Lee was one of the main voices of criticism; since college, he had considered a film adaption of The Autobiography of Malcolm X to be a dream project. Lee and others felt that it was appropriate that only a black person should direct Malcolm X.[7]
After the public outcry against Jewison, Worth came to the conclusion that "it needed a black director at this point. It was insurmountable the other way...There's a grave responsibility here". Jewison left the project, though he noted he gave up the movie not because of the protest, but because he could not reconcile Malcolm's private and public lives and was unsatisfied with Charles Fuller's script. Lee confirmed Jewison's position, stating "If Norman actually thought he could do it, he would have really fought me. But he bowed out gracefully". Jewison and Denzel Washington would reunite several years later for The Hurricane, in which Washington played imprisoned boxer Rubin "Hurricane" Carter, who spent nearly twenty years in prison for a murder he claimed he did not commit before his conviction was overturned in 1985.
Spike Lee was soon named the director, and he made substantial changes to the script. "I'm directing this movie and I rewrote the script, and I'm an artist and there's just no two ways around it: this film about Malcolm X is going to be my vision of Malcolm X. But it's not like I'm sitting atop a mountain saying, 'Screw everyone, this is the Malcolm I see.' I've done the research, I've talked to the people who were there."[6]
Concerns over Lee's portrayal of Malcolm X[edit]
Soon after Spike Lee was announced as the director and before its release, Malcolm X received criticism by black nationalists and members of the United Front to Preserve the Legacy of Malcolm X, headed by poet and playwright Amiri Baraka, who were worried about how Lee would portray Malcolm X. One protest in Harlem drew over 200 people.[6][8] Some based their opinion on dislike of Lee's previous films; others were concerned that he would focus on Malcolm X's life before he converted to Islam.[6][8][9] Baraka bluntly accused Spike Lee of being a "Buppie", stating "We will not let Malcolm X's life be trashed to make middle-class Negroes sleep easier", compelling others to write the director and warn him "not to mess up Malcolm's life."[6] Some, including Lee himself, noted the irony that many of the arguments they made against him mirrored those made against Norman Jewison.[8]
Looking back on the experience of making the film and the pressure he faced to produce an accurate film, Lee jokingly stated on the DVD's audio commentary that when the film was released, he and Denzel Washington had their passports handy in case they needed to flee the country.[10]
Concerns over Washington's portrayal of Malcolm X[edit]
Washington agreed to play Malcolm X while Norman Jewison was scheduled to direct the film. Still, Lee stated he never envisioned any actor other than Washington in the role. Lee, who had worked with Washington on Mo' Better Blues (1990), cited Washington's performance as Malcolm X in an Off Broadway play as superb. However, some purists noted that Washington was far shorter and had a far darker complexion than the real Malcolm X, who stood 6'4" and had notably reddish hair and a lighter complexion (due to his very fair-skinned Grenadian-born mother's partial white ancestry) and bore only a passing resemblance to him.[11]
Budget issues[edit]
Spike Lee also encountered difficulty in securing a sufficient budget. Lee told Warner Bros. and the bond company that a budget of over US$30 million was necessary; the studio disagreed and offered a lower amount. Following advice from fellow director Francis Ford Coppola, Lee got "the movie company pregnant": taking the movie far enough along into actual production to attempt to force the studio to increase the budget.[7] The film, initially budgeted at $28 million, climbed to nearly $33 million. Lee contributed $2 million of his own $3 million salary. Completion Bond Company, which assumed financial control in January 1992, refused to approve any more expenditures; in addition, the studio and bond company instructed Lee that the film could be no longer than two hours, fifteen minutes in length.[9] The resulting conflict caused the project to be shut down in post-production.[7]
The film was saved by the financial intervention of prominent black Americans, some of whom appear in the film: Bill Cosby, Oprah Winfrey, Michael Jordan, Magic Johnson, Janet Jackson, Prince, and Peggy Cooper Cafritz, founder of the Duke Ellington School of the Arts. Their contributions were made as donations; as Lee noted: "This is not a loan. They are not investing in the film. These are black folks with some money who came to the rescue of the movie. As a result, this film will be my version. Not the bond company's version, not Warner Brothers'. I will do the film the way it ought to be, and it will be over three hours."[9] The actions of such prominent members of the African American community giving their money helped finish the project as Lee envisioned it.[6][7]
Request for black interviewers[edit]
"I'm doing what every other person in Hollywood does: they dictate who they want to do interviews with. Tom Cruise, Robert Redford, whoever. People throw their weight around. Well, I get many requests now for interviews, and I would like African-Americans to interview me. [. . .] Spike Lee has never said he only wants black journalists to interview him. What I'm doing is using whatever clout I have to get qualified African-Americans assignments. The real crime is white publications don't have black writers, that's the crime."
— Spike Lee explaining his request for black interviewers[12]
A month before the film was released, Lee asked that media outlets send black journalists to interview him. The request proved controversial. While it was common practice for celebrities to pick interviewers who were known to be sympathetic to them, it was the first time in many years in which race had been used as a qualification. Lee clarified that he was not barring white interviewers from interviewing him, but that he felt, given the subject matter of the film, that black writers have "more insight about Malcolm than white writers."[12]
The request was turned down by the Los Angeles Times, but several others agreed including Premiere magazine, Vogue, Interview and Rolling Stone. The Los Angeles Times explained they did not give writer approval. The editor of Premiere noted that the request created internal discussions that resulted in changes at the magazine: "Had we had a history of putting a lot of black writers on stories about the movie industry we'd be in a stronger position. But we didn't. It was an interesting challenge he laid down. It caused some personnel changes. We've hired a black writer and a black editor."[12]
Filming[edit]
Malcolm X's widow, Dr. Betty Shabazz, served as a consultant to the film.[8] The Fruit of Islam, the defense arm of the Nation of Islam, provided security for the movie.[11]
When Denzel Washington took the role of Malcolm X in the play, When the Chickens Come Home to Roost, which dealt with the relationship between Malcolm X and Elijah Muhammad, he admitted he knew little about Malcolm X and had not yet read The Autobiography of Malcolm X. Washington prepared by reading books and articles by and about Malcolm X and went over hours of tape and film footage of speeches. The play opened in 1981 and earned Washington a warm review by Frank Rich, who was at the time the chief theater critic of The New York Times. Upon being cast in the film, he interviewed people who knew Malcolm X, among them Betty Shabazz and two of his brothers. Although they had different upbringings, Washington tried to focus on what he had in common with his character: Washington was close to Malcolm X's age when he was assassinated, both men were from large families, both of their fathers were ministers, and both were raised primarily by their mothers.[11]
Malcolm X is the first non-documentary, and the first American film, to be given permission to film in Mecca (or within the Haram Sharif). A second unit film crew was hired to film in Mecca because non-Muslims, such as Lee, are not allowed inside the city. Lee fought very hard to get filming in Mecca but Warner Bros. initially refused to put up the money for location shooting. New Jersey was considered for filming the Mecca segments. In the end, Lee got money and permission together for filming in Mecca.[citation needed]
In addition to Nelson Mandela, the film featured cameos by Christopher Plummer (as the prison's Catholic chaplain), Peter Boyle (as a police officer), William Kunstler (as a judge), as well as activists Al Sharpton and Black Panther Party co-founder Bobby Seale (as street preachers).[13]
The film was made shortly after Mandela's 1990 release from prison and during the negotiations to end apartheid in South Africa. Lee explained that he made "the connection between Soweto and Harlem, Nelson and Malcolm, and what Malcolm talked about: pan-Africanism, trying to build these bridges between people of color. He is alive in children in classrooms in Harlem, in classrooms in Soweto."[2] Mandela ends the film with a quote from Malcolm X himself, with Malcolm in a film clip saying the last four words. The quote goes: "We declare our right on this earth, to be a human being, to be respected as a human being, to be given the rights of a human being, in this society, on this earth, in this day, which we intend to bring into existence by any means necessary."
Music[edit]
Main article: Malcolm X (soundtrack)
Reception[edit]
Malcolm X was released in North America on November 18, 1992. The film was critically acclaimed, and has since garnered a score of 91% on movie review aggregator Rotten Tomatoes.[14] Denzel Washington's portrayal of Malcolm X was widely praised and he was nominated for the Academy Award for Best Actor. Washington lost to Al Pacino (Scent of a Woman), a decision which Lee criticized, saying "I'm not the only one who thinks Denzel was robbed on that one."[15] Washington won the Silver Bear for Best Actor at the 43rd Berlin International Film Festival.[16] The movie received a number of awards at other festivals.[17]
The film grossed $9,871,125 in its opening weekend and finished third after Home Alone 2: Lost in New York ($30 million) and Bram Stoker's Dracula ($15 million).[4] According to Box Office Mojo, the film ended its run with a gross of $48,169,610.
The film was widely praised upon its release. Roger Ebert ranked it No. 1 on his Top 10 list for 1992 and described the film as "one of the great screen biographies, celebrating the sweep of an American life that bottomed out in prison before its hero reinvented himself."[18] Ebert and Martin Scorsese both ranked Malcolm X among the ten best films of the 1990s.[19]
In 2010, Malcolm X was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[20][21]

The film is recognized by American Film Institute in these lists:
2003: AFI's 100 Years...100 Heroes & Villains:
Malcolm X (Malcolm Little) – Nominated Hero[22]
2005: AFI's 100 Years...100 Movie Quotes:
Malcolm X: "We didn't land on Plymouth Rock -- Plymouth Rock landed on us!" – Nominated[23]
2006: AFI's 100 Years...100 Cheers – Nominated[24]
2008: AFI's 10 Top 10:
Nominated Epic Film[25]
See also[edit]
African-American Civil Rights Movement in popular culture
References[edit]
Jump up ^ "Malcolm X (1992)". Box Office Mojo. Retrieved October 18, 2008.
^ Jump up to: a b c Sheila Rule, FILM; Malcolm X: The Facts, the Fictions, the Film, The New York Times, November 15, 1992; accessed May 23, 2008.
Jump up ^ Bernard Weinraub, A Movie Producer Remembers The Human Side of Malcolm X, The New York Times, November 23, 1992; retrieved June 18, 2008.
^ Jump up to: a b c d e f Bernard Weinraub, A Movie Producer Remembers The Human Side of Malcolm X, The New York Times, November 23, 1992; retrieved June 8, 2008.
Jump up ^ Baldwin, James (1976). The Devil Finds Work. New York: The Dial Press. p. 95. ISBN 0-8037-1916-7.
^ Jump up to: a b c d e f g h David Ansen and Spike Lee, The Battle For Malcolm X, Newsweek, Retrieved May 31, 2010.
^ Jump up to: a b c d Scott Tobias, Malcolm X, The Onion A/V Club, February 15, 2005, Retrieved February 19, 2014.
^ Jump up to: a b c d Evelyn Nieves, Malcolm X: Firestorm Over a Film Script, The New York Times, August 9, 1991; retrieved May 15, 2008.
^ Jump up to: a b c Lena Williams, Spike Lee Says Money From Blacks Saved 'X', The New York Times, May 20, 1992; retrieved May 15, 2008.
Jump up ^ Nat Tunbridge (April 11, 2005). "Malcolm X: Special Edition". DVD Times. Retrieved October 3, 2009.
^ Jump up to: a b c Lena Williams, Playing With Fire, The New York Times, October 25, 1992; retrieved May 15, 2008.
^ Jump up to: a b c Bernard Weinraub, Spike Lee's Request: Black Interviewers Only, The New York Times, October 29, 1992, Retrieved May 23, 2008.
Jump up ^ Vincent Canby, Review/Film; 'Malcolm X', as Complex as Its Subject, The New York Times, November 18, 1992, Retrieved May 23, 2008.
Jump up ^ "Malcolm X Movie Reviews, Pictures". Rotten Tomatoes. Retrieved July 18, 2010.
Jump up ^ DVDTalk.com. "Spike Lee on Malcolm X". Dvdtalk.com. Retrieved July 18, 2010.
Jump up ^ "Berlinale: 1993 Prize Winners". berlinale.de. Retrieved June 1, 2011.
Jump up ^ "Malcolm X (1992) : Awards". IMDb.com. Retrieved 2016-01-27.
Jump up ^ Ebert, Roger (December 31, 1992). "The Best 10 Movies of 1992". rogerebert.com. Retrieved March 15, 2011.
Jump up ^ Anderson, Jeffrey M. "The Best Films of the 1990s". Combustible Celluloid. Retrieved June 21, 2010.
Jump up ^ "'Empire Strikes Back' among 25 film registry picks". Retrieved December 28, 2010.
Jump up ^ Barnes, Mike (December 28, 2010). "'Empire Strikes Back', 'Airplane!' Among 25 Movies Named to National Film Registry". The Hollywood Reporter. Retrieved December 28, 2010.
Jump up ^ "AFI's 100 Years...100 Heroes & Villains Nominees" (PDF). Retrieved 2016-08-14.
Jump up ^ "AFI's 100 Years...100 Movie Quotes Nominees" (PDF). Retrieved 2016-08-14.
Jump up ^ "AFI's 100 Years...100 Cheers Nominees" (PDF). Retrieved 2016-08-14.
Jump up ^ "AFI's Top 10 Epic Nominees". Retrieved 2016-08-14.
External links[edit]
Wikiquote has quotations related to: Malcolm X (film)
Malcolm X on IMDb
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[show]
v
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Malcolm X
Family
Betty Shabazz (wife)
Attallah Shabazz (daughter)
Qubilah Shabazz (daughter)
Ilyasah Shabazz (daughter)
Malcolm Shabazz (grandson)
Organizations
Nation of Islam
Muslim Mosque, Inc.
Organization of Afro-American Unity
Places
Malcolm X House Site
Mosque No. 7
Mosque No. 11
Mosque No. 12
Audubon Ballroom
Malcolm X and Dr. Betty Shabazz Memorial and Educational Center
Lenox Avenue/Malcolm X Boulevard
Malcolm X Shabazz High School
Malcolm Shabazz City High School
Malcolm X College
Media
Authored
Message to the Grass Roots (1963)
The Ballot or the Bullet (1964)
The Diary of Malcolm X (1964)
The Autobiography of Malcolm X (1965)
About
The Hate That Hate Produced
X, The Life and Times of Malcolm X
1972 documentary
Death of a Prophet
1992 film
soundtrack
Malcolm X: Make It Plain
Seven Songs for Malcolm X
Growing Up X
Malcolm X: A Life of Reinvention
A Lie of Reinvention: Correcting Manning Marable's Malcolm X
An Eye on X
The Meeting
Malcolm's Echo
Related
Elijah Muhammad
Rowena Moore
Hayer affidavits
Malcolm X Day
Malcolm X Foundation
[show]
v
t
e
Spike Lee
Filmography
Awards and nominations
Feature films
directed
She's Gotta Have It (1986)
School Daze (1988)
Do the Right Thing (1989)
Mo' Better Blues (1990)
Jungle Fever (1991)
Malcolm X (1992)
Crooklyn (1994)
Clockers (1995)
Girl 6 (1996)
Get on the Bus (1996)
He Got Game (1998)
Summer of Sam (1999)
Bamboozled (2000)
25th Hour (2002)
She Hate Me (2004)
Inside Man (2006)
Miracle at St. Anna (2008)
Red Hook Summer (2012)
Oldboy (2013)
Da Sweet Blood of Jesus (2014)
Chi-Raq (2015)
Black Klansman (2018)
Documentaries
directed
4 Little Girls (1997)
Freak (1998)
The Original Kings of Comedy (2000)
A Huey P. Newton Story (2001)
The Concert for New York City (2001, "Come Rain or Come Shine")
Jim Brown: All-American (2002)
When the Levees Broke (2006)
Kobe Doin' Work (2009)
Passing Strange (2009)
If God Is Willing and da Creek Don't Rise (2010)
Bad 25 (2012)
Michael Jackson's Journey from Motown to Off the Wall (2016)
Other films
directed
Joe's Bed-Stuy Barbershop: We Cut Heads (1983)
Lumière and Company (1995)
Ten Minutes Older: The Trumpet (2002, segment "We Wuz Robbed")
All the Invisible Children (2005, segment "Jesus Children of America")
Television
Sucker Free City (2004)
She's Gotta Have It (2017)
Related articles
40 Acres and a Mule Filmworks
Bill Lee
Joie Lee
David Lee
Cinqué Lee
Malcolm D. Lee
[show]
v
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NAACP Image Award for Outstanding Motion Picture
1972–2000
Lady Sings the Blues (1972)
Let's Do It Again (1976)
The Greatest (1978)
Fame (1980)
Bustin' Loose (1981)
An Officer and a Gentleman (1982)
A Soldier's Story (1985)
The Color Purple (1986)
Lethal Weapon (1987)
Coming to America (1988)
Lean on Me (1989)
Glory (1990)
Boyz n the Hood (1992)
Sister Act (1993)
Malcolm X (1994)
Waiting to Exhale (1996)
A Time to Kill (1997)
Soul Food (1998)
How Stella Got Her Groove Back (1999)
The Best Man (2000)
2001–present
Remember the Titans (2001)
Ali (2002)
Antwone Fisher (2003)
The Fighting Temptations (2004)
Ray (2005)
Crash (2006)
The Pursuit of Happyness (2007)
The Great Debaters (2008)
The Secret Life of Bees (2009)
Precious (2010)
For Colored Girls (2011)
The Help (2012)
Red Tails (2013)
12 Years a Slave (2014)
Selma (2015)
Straight Outta Compton (2016)
Hidden Figures (2017)
Authority control
WorldCat Identities
VIAF: 203347314
GND: 4308884-3
BNF: cb13183711q (data)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Malcolm_X_(1992_film)&oldid=812309979"
Categories:
1992 films
English-language films
1990s biographical films
1990s drama films
African-American films
American biographical films
American epic films
American political drama films
American films
Films about Malcolm X
Films about race and ethnicity
Films based on actual events
Films directed by Spike Lee
Screenplays by Spike Lee
Fiction narrated by a dead person
Films set in Harlem
Films set in Massachusetts
Films set in New York City
Films set in the 1920s
Films set in the 1930s
Films set in the 1940s
Films set in the 1950s
Films set in the 1960s
Films shot in Egypt
Films shot in New Jersey
African-American Civil Rights Movement (1954–68) in film
United States National Film Registry films
Warner Bros. films
40 Acres & A Mule Filmworks films
Films scored by Terence Blanchard
Hidden categories:
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