Malcolm X (Terence Blanchard)

Blanchard uses a wide variety of music throughout Malcolm X in order to concur with the various time, place, and atmospheric settings. When he uses orchestral pieces, they usually only use a few of the intstruments though many instruments are used in the movie. Additionally, much pre-recorded music is used, especially in public places, like diners, inside the police station, etc., in part to give a realistic ambience for the time period (post-WWII). The sharp contrast between the orchestral parts used in flashbacks to the Little household and the jazz used throughout Malcolm's adolescent and early adult life clearly show that Malcolm has strayed from his upbringing. Jazz vocals, trumpet, and saxophone proudly accompany adolescent Malcolm as he struts in his colorful garb to the barbershop. He then gets his hair straightened--Baines later tells him that he was just subconsciously conforming to white culture because whites don't have nappy hair--and the music picks up again as he and his friend, Shorty, strut out of the shop. During the dialogue in the barbershop, the music becomes quieter and possibly even diagetic though no radio is prominently seen. The scene then flips back to the Little household as members of the KKK surround their house. The orchestral music here and the use of powerful, ironic brass as the evil KKK ride off into the moon image recalls more classical Hollywood techniques. The less modern music here also helps set the countryside Little house from the Urban clubs where adolescent Malcolm parties.

Blanchard uses the snare drum in military rhythm noticeably in two places in order to evoke a serious atmosphere already provided by the action. First, the drums accentuate the discipline of Malcolm's crowd outside the hospital. They have been awaiting news on Brother Johnson, whom the police have unduly battered with a nightstick. The crowd is organized in lines, just like military formation, and turns as a unit--except for one admirer--when Malcolm signals them to leave. This usage does, however, allow the audience to presume that the crowd will follow his direction and leave peacefully. Later, the snare are used with footage of Kennedy's death and funeral. Rather than using "Taps," Blanchard uses the snares to demonstrate the gravity of the assassination. The snares, unlike "Taps," represent more than solemnity: they also represent marching, perhaps to war. Shortly thereafter, Malcolm makes controversial, misconstrued statements on Kennedy's assassination, blaming the white race and saying that he is not surprised they have used their violent powers against one of their own leaders after doing the same for hundreds of years to other peoples. He is subsequently discredited by the Nation of Islam and his battle to survive and protect his family begins.